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Stunning orchestral colour from the BRSO, with command and total coherency from Sir Simon Rattle in Mahler's “Tragic” Symphony.

Sir Simon Rattle awards Thomas Adès a Royal Philharmonic Society medal during the first visit this summer of the BRSO to the BBC Proms. 

Winding up his inaugural tour with the BRSO, new Chief Conductor Sir Simon Rattle delivered a superbly performed program of Wagner, Adès and Beethoven. 

After an eight-year absence, Rattle returned to deliver the kind of Mahler performance only he can offer: probingly intelligent and wonderfully idiosyncratic.

A long stellar night of supremely assured singing and playing in Wagner's Siegfried, with the Bavarian Radio Symphony Orchestra and Sir Simon Rattle on top form.

Hans Abrahamsen makes a powerful statement in his latest orchestral work, while Yannick Nézet-Séguin, Beatrice Rana and the BRSO make a spirited attempt to reawaken interest in Clara Schumann's only concerto.

François-Xavier Roth conducts the Bavarian Radio Symphony Orchestra with pianist Kirill Gerstein in a thrillingly played trio of Debussy, Schoenberg and Stravinsky.

In the Sonatina, Thielemann conducted the BRSO winds through the myriad of characteristic Strauss motifs with easy-going rubato.

The Bavarian Radio Symphony Orchestra's new chief conductor revels in a flawless performance from his star players.

The German baritone was as extraordinary as ever in a programme with Robin Ticciati and the BRSO in Munich.

Karina Canellakis steps in for Esa-Pekka Salonen to make an accomplished debut in Munich. 

String principals Jehye Lee and Tobias Reifland impress in Mozart's sunny Sinfonia Concertante.

Simon Rattle continues his European travels, returning to the Philharmonie im Gasteig for a fine programme with the outstanding Bavarian Radio Symphony Orchestra. 

As Europe’s concert-giving tentatively emerges from the coronavirus lockdown, Simon Rattle and the BRSO celebrate its rebirth with a sublime pairing of Vaughan Williams and Mozart.

The Bavarian Radio Symphony Orchestra triumphs under inspiring conducting in Vienna.

When Mariss Jansons was forced to withdraw from his orchestra's tour, the BRSO couldn't have found a better step-in than Yannick Nézet-Séguin.

Nézét-Séguin draws limpid playing of extreme clarity from the BRSO to provide a telling account of Shostakovich's Fifth.

A concert repertoire played by the fine Bavarian Radio Symphony Orchestra, Bernard Haitink conducting, was a promising alliance for the last concert of this year’s Easter festival in Lucerne.

Bernard Haitink celebrated an early 90th birthday conducting the Bavarian Radio Symphony Orchestra and Chorus in a searching, joyous account of Beethoven's “Choral” Symphony.

Mariss Jansons and the BRSO offer defining performances of two of Richard Strauss' greatest works.

Mariss Jansons makes the case for the Bavarian Radio Symphony Orchestra visiting Carnegie Hall more often. 

The Bavarian Radio Symphony Orchestra under Jansons treated the Lucerne Festival audience to works by Schumann and Bernstein. But it was pianist Matsuev’s Rachmaninov that electrified the hall.

In a varied programme at Lucerne’s 2018 Easter Festival, Mariss Jansons conducted the BRSO and Choir in works by Stravinsky, Hummel and Beethoven.

After a revelatory performance with his Bavarian RSO at the Barbican, Mariss Jansons was awarded the Gold Medal of the Royal Philharmonic Society for being "the quintessential musicians’ musician".

Russian repertoire is second nature to Mariss Jansons and this programme at the Barbican with his Bavarian Radio Symphony Orchestra was easily the finest music-making I’d heard all year.

The final note, marked “esterbend” (dying), possessed breathtaking fragility. Live in the concert hall, one cannot imagine it done better than this.

A starrily cast performance of Puccini's early opera transcended the limitations of concert presentation to provide a very moving and musically rewarding account of the drama.

Mahler 5 shows the Bavarian Radio Symphony Orchestra at its most expressive. 

It's a sound that makes you forget to breathe: deep, monolithic and with a high-definition sound in which every component gleams.

During the Lucerne Easter Festival, Mariss Jansons conducted the Bavarian Radio Symphony Orchestra and Choir in three highly charged works. 

On several occasions when I listened to Brahms’s first piano concerto in concert, I was left wondering whether Brahms really intended the pianist to play with so much physical force.

In a stunning all-Brahms programme that opened the summer festival season, the Lucerne Festival Orchestra under conductor Andris Nelsons gave a stellar performance.

Third time’s a charm? Or is three a crowd? It isn’t often that an orchestra takes up an entire weekend at Carnegie Hall. Could this be too much of a good thing?

Each note from the Bavarian RSO was infused with a sort of insistent newness as the musicians poured forth adventurous interpretations of two familiar works.

Why would Mariss Jansons leave the Concertgebouw? Because he has the Bavarian Radio Symphony Orchestra... 

If the Bavarian Radio Symphony Orchestra is the Porsche of orchestras, then Mariss Jansons is something like the Michael Schumacher of conductors, guiding this most-celebrated of German radio orchestras through some of the most precipitous and heart-stopping shifts in speed I have witnessed.

It is on record that Mariss Jansons adores the Usher Hall in Edinburgh and wishes there was a concert hall with as good an acoustic in Munich. His quite astonishing performance of Mahler’s vast “Resurrection” Symphony, taking us as it does on a journey from darkness and despair to blazing light with orchestra and choir going flat out, demonstrated just what an exciting venue this is.

As one of this Prom season’s chief “big-names”, the Bavarian Radio Symphony Orchestra’s two concerts with the much-loved Mariss Jansons were quick to sell out. Tonight’s Mahler justified the high expectations with a compelling account of the huge “Resurrection” Symphony, even if the finale wasn’t quite as overwhelming as one might have hoped.

Listening to Mitsuko Uchida at last night’s Prom, it struck me that Beethoven’s Fourth Piano Concerto is the most chameleon-like of works, sounding quite different every time I hear it performed by a different pianist.

An old proverb names Munich as the northernmost city in Italy. As odd as this may seem, it makes some sense when considering the arches of the mock-Italian loggia in Odeonsplatz, modeled after the one in the Piazza della Signoria in Florence.