Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Lisa Batiashvili

The BBC's annual classical jamboree is launched in fine style with a premiere and a timely revival, conducted by Sakari Oramo. 

Till Eulenspiegel and Ein Heldenleben frame Lisa Batiashvili playing Mozart's "Turkish" concerto. 

An exciting programme of Berlioz and Szymanowski makes for a delectable concert under Sir Antonio Pappano with violinist Lisa Batiashvili. 

The Georgian-born German violinist dazzles in a generous, mostly Russian program led by Chief Conductor Designate, Klaus Mäkelä.

A varied programme of chamber music charms the Berlin Phil, featuring works by Widmann and a premiere by young talent Tsotne Zedginidze.

As the news breaks that Esa-Pekka Salonen will be leaving at the end of his San Francisco Symphony tenure, he conducts the music of his fellow Finn, Jean Sibelius. 

Beethoven was the spiritus rector of Ticciati's COE concert at the Elbphilharmonie, with Lisa Batiashvili in commanding form for that composer's fiddle concerto.

The polar opposite combination of Beethoven's Violin Concerto and Prokofiev's Third Symphony may seem odd on paper, but makes for an inspiring and entertaining evening at the Barbican.

In the existential angst stakes, Sibelius steals Mahler's thunder in an intense performance with the Philharmonia and Lahav Shani. 

The orchestra celebrates its 127th season with an evening of exciting excursions, onstage and off.

Muscular and energetic yet subtle and mercurial, this was a tour-de-force performance from an inexhaustible dynamo of invention

Oramo's structural insight ensures ideal tempo relations between sections, so crucial in Sibelius.

With fabulous solo singing from Pavol Breslik and Elsa Dreisig, Beethoven's only oratorio Christ on the Mount of Olives turns out to be a gem. Sadly, the Berg Violin Concerto misses the mark.

Lisa Batiashvili and the Boston Symphony Orchestra conducted by Andris Nelsons offer an adventurous program of works leaving a lasting impression.

Orchestra and conductor seem equally at home in Anna Thorvaldsdottir's galactic soundscapes and Richard Strauss' Symphonia Domestica. 

Ravel, Mendelssohn and youthful Shostakovich form a varied programme for this starry trio. 

The West-Eastern Divan Orchestra’s Prom with Daniel Barenboim went in search of identity and found ecstasy

Sakari Oramo led an inspired BBC Symphony Orchestra in cultured performances of Sibelius, while Lisa Batiashvili produced a monumental UK première of Anders Hillborg’s evocative Violin Concerto No.2.

Barenboim has a long relationship with Elgar's music, but the Staatskapelle's love affair is more recent, still in the passionate, excitable phase of discovery.

Sparks fly in a vibrant new relationship between Daniele Gatti and the Concertgebouw, together with unflappable virtuosity from Lisa Batiashvili.

Daniel Harding and the LSO gave a spirited performance of Dvořák's folk-inspired Eighth Symphony, while Lisa Batiashvili lived and breathed Bartók's lovestruck infatuation in his First Violin Concerto.

There may be little profound to say in Dvořák’s Sixth Symphony, but that didn’t stop Nézet-Séguin and the LPO telling it most beguilingly. 

Musical Director Yannick Nézet-Séguin inspired wonderful performances from the American players on the last leg of their European tour. 

"Rarely, rarely, comest thou, Spirit of Delight!": Shelley's line was one of Elgar's inspiration for his Second Symphony. Rarely can it have received such an inspired performance. 

Ms Batiashvili performed her final concert as the New York Philharmonic’s Artist-in-Residence alongside her companion and oboe virtuoso François Leleux in works by two distinguished organist-composers.

Alan Gilbert consistently pulled warm and intense playing from all sections, and the energy exchanged between him and Lisa Batiashvili was palpable.

The second evening of the Rotterdam Philharmonic Gergiev Festival offered an interesting programme dynamically conducted by the Russian master. The theme this year was The Great War. 

A programme of works by Kaija Saariaho and Jean Sibelius promised a blast of Nordic ice down the back of the neck, but the performances under fellow Finn Esa-Pekka Salonen raised the temperature considerably higher than anticipated.

Lisa Batiashvili joins the Philadelphia Orchestra and Yannick Nézet-Séguin for smooth, suave Bartók, but Bruckner's Ninth doesn't quite cohere.

In what was only his second Prom as chief conductor of the BBC Symphony Orchestra, Sakari Oramo led this fine orchestra on a journey through two of the best-known pieces of the 20th century. However, the first piece to be played was the BBC-commissioned work by Param Vir, Cave of Luminous Mind.

Alan Gilbert’s last few seasons at the New York Philharmonic have featured an opera in June. While previous efforts have featured elaborate staging, this year’s installment, Luigi Dallapiccola’s Il prigioniero, was performed in concert. For this particular work, which was written for radio broadcast, this seems only appropriate.

“Der Sir”, they used to call him. The death of Sir Colin Davis has been a strikingly international event, and New York has been no exception. Over at Lincoln Center, Alan Gilbert and the New York Philharmonic opened their latest subscription run with “Nimrod” from Elgar’s Enigma Variations, a joint tribute to the British conductor and the people of Boston (another of Sir Colin’s haunts).

Whatever our relationship with music we often have moments in our lives where the thing we’ve always loved feels like little more than a habit, or worse still a chore. You go to a concert and sit through it, and you know in your head that the orchestra played well and that the soloists were excellent, but your heart remains unmoved.

What a night. The conductor, Paavo Järvi, made the evening’s performance riveting, with a modest yet heartfelt performance. There were no egos on the stage, just unpretentious and pure classical music. The programme was three works long: two symphonies either side of a violin concerto.

“Royal Albert Hall / Barbican / Usher Hall (delete as necessary) sold out for Sunday morning concert.” How likely is this headline in response to a normal, mid-season concert in Britain? For Hamburg, it is perfectly normal, and the crowds that thronged the Laeiszhalle, young and old, chic and casual, were not to be disappointed.

The husband and wife team of acclaimed concert violinist Lisa Batiashvili and solo oboist François Leleux forms the backbone of this as-yet-unnamed chamber group, which performs as often as busy individual schedules permit. For some the main draw of an ensemble of like this might be hearing the music buffeted around by strong personalities.

It was announced shortly before tonight's concert that the advertised conductor, the London Philharmonic's Principal Guest Conductor Yannick Nézet-Séguin, was indisposed. In a programme which included Mahler's enormous Symphony no. 9, it was no small thing for Australian conductor Matthew Coorey to take over at short notice.

The Sydney Symphony Orchestra continued their pairing of Beethoven and Strauss with two works based on different types of heros – the tragic hero of Beethoven’s Coriolan Overture and the more Romantic, all-conquering hero of Strauss’ Thus Spake Zarathustra, based on Nietzsche’s book.

Esa-Pekka Salonen is an impressive conductor to watch. His movement is fluid, elegant and simple, yet he achieves a wide range of different gestures: I'm not an orchestral musician but I imagine that it would be very easy to follow his intent.

Combining Bartók’s second Violin Concerto with Beethoven’s Eroica Symphony was a bold move for Alan Gilbert. Bartók’s music is rough around the edges, abrasive and severe but also tepid in parts. Beethoven, on the other hand, is wild and bombastic; The Eroica Symphony is a larger than life work. Performing the two pieces in a single evening was ambitious, but proved triumphant.