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Liv Redpath and Bertrand Chamayou shine at the Lucerne Festival in this celebration of Pierre Boulez's legacy. 

Karina Canellakis brings a riot of Technicolor to the Edinburgh International Festival, but countertenor Hugh Cutting threatens to steal the show in Chichester Psalms.

British vocal talent adds some very British glamour to the closing Avrotros Friday concert featuring Elgar's most famous oratorio. 

Karina Canellakis conducts a program at the New York Philharmonic of works tied to the mystical or ineffable, with astonishing clarity.

Opening with those quintessential Romantics, Lord Byron and Manfred, Karina Canellakis’ LPO programme builds to a Bruckner 4 full of powerful forward momentum. 

Karina Canellakis makes her debut with the Royal Concertgebouw Orchestra in a programme full of extremes. 

Karina Canellakis conducts a Franco-Prussian program featuring Beethoven and Brahms in the first half, Chausson and Ravel in the second. 

Evangelia Kranioti's film reawakens the extraordinary extremity of Stravinksy's original ballet score in the Netherlands Radio Philharmonic's performance. 

Karina Canellakis brings her Netherlands Radio Philharmonic to the Musikverein, joined by Emanuel Ax in Beethoven's Second Piano Concerto. 

Karina Canellakis comes along at just the right moment to see what a possible contender for the open LA Phil post could bring. 

Canellakis and the LPO are in fighting form with Brahms’ Fourth Symphony, while Pablo Ferrández provides subtlety and sardonic bite in Shostakovich. 

Before the planned program of Bartók and Haydn, the Boston Symphony Orchestra and conductor Karina Canellakis honor Seiji Ozawa with Bach's Air on a G String. 

Early Beethoven doesn't convince, but Karina Canellakis’s rendering of Shostakovich 8 pulls no punches: raw, frightening, even chastening

Richard Strauss, self-styled "first-class second-rate" composer, has been having a moment in London with several tone poems on show.

Karina Canellakis conducts the BBC Scottish Symphony Orchestra in a programme of large scale repertoire to close the 2023 Edinburgh International Festival. 

Virtuosity infused with a tension which became almost unbearable

An urgent, fiery Eroica follows Augustin Hadelich’s poetic reading of Sibelius’ Violin Concerto at the Festival Hall.

Interpreting music of his beloved Chopin, Emanuel Ax imbued every passagework with poetic sensitivity.

In this Russian-based programme, Christian Tetzlaff gave a commanding performance of Shostakovich's troubled final concerto, while Karina Canellakis and the LPO eschewed the dark corners and crevices of Tchaikovsky's Fourth Symphony.

Karina Canellakis makes her first appearance at the Royal Festival Hall as the LPO’s Principal Guest Conductor, giving a punchy account of Sibelius’ Fifth Symphony that takes in the sweep of its mighty architecture.

The rising American conductor led works by Dvořák and Tchaikovsky, along with a fine performance of Shostakovich’s Piano Concerto no. 1 with Behzod Abduraimov and Michael Sachs as soloists.

Yo-Yo Ma's beauty of tone was as remarkable as always in Tchaikovsky's Rococo Variations.

An all-day Beethoven experience European style with both highs and lows: much diversity revealed and exploited but of variable quality.

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

Karina Canellakis leads the Royal Stockholm Philharmonic Orchestra in Wagner and Strauss with style and sophistication.

A high-spirited programme in Tivoli Vredenburg that struck just the right note of hope and renewal as the classical music scene across Europe reawakens.

Canellakis has the musicianship to ensure Strauss’ over-the-top moments registered high on music’s Richter scale.

Emanuel Ax plays Beethoven's Second Piano Concerto and works by Di Castri and Lutosławski round out the program.

Christian Spuck revisits Verdi’s sublime Messa da Requiem with a host of gifted dancers and singers at the Zurich Opernhaus.

Canellakis is an elegant conductor who invests so much in the music and inhabits its lilts and thrills with her whole demeanour.

Curtis Institute singers and orchestra rescue Mozart's Don Giovanni from being overwhelmed by pianos.

The London Philharmonic Orchestra, conducted by Karina Canellakis and with Pierre-Laurent Aimard as soloist, offer a scenic tour to territories once visualised by Sibelius, Dvořák and Bartók.

A disparate set of pieces are connected to an intriguing theme in mostly successful performances, including Shostakovich from cellist Alisa Weilerstein.

Prom 70, the last concert for the BBC Symphony Orchestra prior to the Last Night festivities, featured three talented Americans: composer Missy Mazzoli, pianist Jeremy Denk and conductor Karina Canellakis.

Oxford may well be far from the coast, but it played host to a bracing French voyage last night at the Sheldonian Theatre.

Karen Gomyo and the Vancouver Symphony present a ravishingly romantic programme of Berg and Rachmaninov

David Lang’s new opera the loser opened the Next Wave Festival at the Brooklyn Academy of Music on Wednesday night, but simply lacked theatricality.

Karina Cannelakis and Hong Kong Phil excite and please with disparate programme of Mozart and Strauss. 

With an artistic director forced to cancel in the middle of a weekend of concerts, duty called on his assistant conductor - and she clearly had done her homework.

On Wednesday night, a group of young artists coached by John Adams and David Robertson warmed up on the stage of Carnegie Hall’s Zankel Hall. The snatches of the music we were about to hear – from cinematic melodies to jaunty dance-like snippets – jumbled together as one usually expects of a warm-up.