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Omer Meir Wellber’s Mozart-Ullmann mash-up sounds like a terrible idea, but absolutely hits the mark. 

A haunting, musically compelling impression of a woman whose life was shaped by creation, loss, and unfulfilled thirst for personal expression.

With an assist from Gidon Kremer, the Prague Radio Symphony Orchestra shines in an overheated, challenging program.

The Dresden Music Festival public renew their love for Jan Vogler, who is joined by festival debutants from Parma. 

Omer Meir Wellber conducts a spirited account of Verdi's early opera, semi-staged and live-streamed from the Teatro Massimo.

Taking snapshots from 1806 and 1807, the BBC Philharmonic present two works from Beethoven’s middle period, with high musical standards and the Dresden Chamber Choir on superb form.

Omer Meir Wellber conducts his first Bridgewater Hall concert as Chief Conductor of the BBC Philharmonic.

The Proms Youth Chorus and BBC Phil bring brimming new life to Haydn's masterpiece.

Wellber may have lots planned for the BBC Philharmonic over the coming years, but this exciting programme showed that he didn’t want to waste any time delivering.

Saioa Hernández leads a solid cast in Dresden in a somewhat disappointing new production by David Bösch.

A sparkling if challenging first half of Haydn and Schnittke, splendidly delivered by the NDR Elbphilharmonie Orchester, but with shortcomings in the conductor's approach to Tchaikovsky's largest symphonic score.

Omer Meir Wellber makes his first appearance with the BBC Philharminic since the announcement of his appointment as Chief Conductor Designate.

It was Omer Meir Wellber’s turn to conduct the City of Birmingham Symphony Orchestra in its first concert of the new season, a programme of music by Dvořák and Bartók which promised to be the perfect antidote to the Daily Grind.

After dipping its toe in the cherry blossom for Glyndebourne's Tour in 2016, Annilese Miskimmon's staging of Puccini's gut-wrencher hits the main festival.

The CBSO chose a programme that was ostensibly simple, but proved to be deceptively difficult.  

In Zurich’s new and provisional Tonhalle Maag, Omer Meir Wellber recently conducted a triple bill of works from the Baroque, Romantic and modern periods.

With superb singing from Harteros, Salsi and Kaufmann, this production makes a strong case for Andrea Chénier’s continued presence in the repertoire.

With Richard Strauss’s epic symphonic poem and Benedetti performing Tchaikovsky’s Violin Concerto, the CBSO had major expectations to fulfil. 

Torsten Fischer's Nazified production of Strauss' Daphne in the Semperoper Dresden may leave you confused, but it receives a solid performance. 

Il Trovatore has doggedly survived in opera’s hit charts despite dispensing generous quantities of hair-raising as well as eyebrow-raising content. Verdi’s music is intoxicating, of course, but there is something to this work that makes it accessible beyond reasoning.

La Traviata is such a warhorse that we often forget how many issues it raises for presenting a staging that can convince us of what is in the first analysis a quite ludicrous story, despite Verdi's veristic intentions.

Deborah Warner’s new production of La Traviata for the Wiener Festwochen is dotted with dramatic ideas to much the same extent as flowers are strewn and champagne is uncorked in the Act I ‘Brindisi’ (drinking song), which is to say sparingly.

If director Luc Bondy has a muse, it’s the Georgian baritone George Gagnidze, blessed with a bulging eyes and a big, craggy voice. After growling and sneering his way through Scarpia in Bondy’s much-maligned Metropolitan Opera production of “Tosca,” Gagnidze is back to do the same to the title role of “Rigoletto” in Bondy’s new production at the Wiener Festwochen.