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Evgeny Titov's new production is heavy on the jokes and light in substance, but delights anyway thanks to its high-class cast. 

Joana Mallwitz makes her Royal Opera debut in the pit as Sir David McVicar returns to direct this revival of his much-loved 2006 show.

Rafael Payare launches the Orchestre symphonique de Montréal's 2022-2023 season on a massive scale with Mahler's Resurrection Symphony. 

From Beethoven's “Ghost” Piano Trio to Schumann’s song cycle, Frauenliebe und -leben, an eclectic programme at the Martha Argerich Festival. 

Oppressed by the prospect of wall-to-wall LvB throughout 2020? Here was a joyous reminder of why we are celebrating.

Dorothea Röschmann has a soaring silvery line when needed (she is a famous Marschallin).

Harding's grasp of the work's architecture that provides overall coherence. That, combined with the pithy, pulsing core he forges at its heart, makes this performance as engaging as it is polished.

Kasper Holten's virtuosic staging is revived by the Royal Opera with a cast of three exceptionally strong women, and accomplished performances by Christopher Maltman and Alex Esposito as the Don and his servant.

Mariss Jansons’ reading of Strauss’ Der Bürger als Edelmann is devoid of parody, while his Mahler Fourth is a glimpse of heaven in shimmering watercolours.

The final performance of Yannick Nézet-Séguin's Brahms cycle with the Rotterdam Philharmonic Orchestra is decent, but falls short of the excellence of the other three symphonies he performed. 

The English Concert and Harry Bicket bring Theodora to Carnegie Hall, with Dorothea Röschmann, David Daniels and Sarah Connolly.

Even Emperor Josef II would have thought this was a bad idea. The real-life monarch depicted in Peter Shaffer’s fictional play Amadeus quite memorably forbade ballet in his court operas. But the absurdity of the dancers carrying on with no music playing in Mozart’s Act III convinced the Emperor that he was in the wrong.

Under conductor Alan Gilbert, the New York Philharmonic and the New York Choral Artists gave an inspired but slightly uneven performance of J.S. Bach’s Mass in B minor on Wednesday night. Playing with great panache as well as a mindful sense of the historical weight of the piece, the vocalists and musicians gave bristling and glistening life to a timeless work.

Why would the London Symphony Orchestra pair Mozart’s Symphony no. 41 in C major, “Jupiter” and Mahler’s songs from Des Knaben Wunderhorn? There seemed to be no direct link between them other than that both demonstrate their composers’ fondness for mystery.