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A mixed performance from Bonn, but there was magic from Barenboim's fingers in the Third Piano Concerto.

A varied, interesting programme was offered to the Zurich audience, with Emőke Baráth shining in two Baroque cantatas and Daniel Hope leading the orchestra from the violin.

Hope can spin high-lying musical phrases with a sweetness and suspension that few of his contemporaries can match.

Featuring “greats” of the Italian and German Baroque, The Zurich Chamber Orchestra (ZKO) recently played a concert in the perfect venue.

Yesterday’s all-Romantic programme displaced the usual thing with incredible panache, as Daniel Hope’s violin surveyed the ensemble with regal bearing. 

The Zurich Chamber Orchestra gave a riveting programme of Bach and Vivaldi at the Tonhalle, featuring soloist Daniel Hope.

For once, the musical menu was a good deal more sultry than the temperatures in the Royal Albert Hall as the Borusan Istanbul Philharmonic made a notable debut in a programme full of what Rudyard Kipling may well have described as “more-than-oriental splendour”.

Let's be brutally honest, concertgoers: Vivaldi's Four Seasons has been played to death - recorded by everybody who's anybody. It's been a wonderful old warhorse over the years, but it has been flogged once too often. Can it really be possible, then, to bring this animal back from the dead and rekindle our enthusiasm?

As one of the headline acts for the newly established Bristol Proms, award-winning British violinist Daniel Hope played alongside the Royal Philharmonic Concert Orchestra for the first orchestral performance on the Bristol Old Vic Theatre stage for over a century.

The perky new conductor of the BBC National Orchestra of Wales, Thomas Søndergård, made his second Proms outing with an exciting programme of contrasting works which kicked off with the first UK performance of Colin Matthews’ Turning Point.First performed by the Amsterdam Concertgebouw Orchestra in 2006, Turning Point is an eighteen-minute work of considerable technical skill.

At once, Max Richter’s avant-garde remix of Vivaldi’s Four Seasons is both strange and familiar. Poised atop the stage at (le) Poisson Rouge sat the LPR ensemble – complete with a harpsichord! – ready to begin their performance. But something curious happened: the players remained silent as an electronic hum radiated out of a laptop on stage.

It was a night that didn't augur well for those Hollywood Bowl patrons seeking the usual symphonic serenade under starlight. Los Angeles, on Thursday night, was seized by a sudden heat wave that was accompanied with stifling humidity more fitting for Manila or Saigon than the Hollywood Hills.