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Propulsive Prokofiev from pianist Dmitry Shishkin between Ravel’s hypnotic minimalism and Schoenberg’s late-Romantic complexity. 

Under Markus Stenz, the Philharmonia Zürich orchestra give stunning performances of works by Strauss, Bartók, and Mahler in the city’s historic opera house.

Mahler's Resurrection Symphony is something of a calling card for the City of Birmingham Symphony Orchestra, here originally billed as Mirga Gražinytė-Tyla’s final concert as musical director. 

Set in a 1930s music school, Sergio Morabito, Jossi Wieler and Anna Viebrick's new production of Die Meistersinger von Nürnberg at Deutsche Oper Berlin has some inspirational ideas but they often get in the way of the music.

Never before has human impotence been so cruelly portrayed on stage.

In Minneapolis, Markus Stenz and Louis Lortie present time-honored Austro-German symphonic masterpieces in committed and compelling performances.

The loud cheers for the performers were richly deserved, although Jörg Widmann’s imposing but sprawling Babylon was not well-served by the concert format.

Detlev Glanert's first religious composition, a staggering Requiem for solo voices, two choirs and orchestra, pits the demonic against the angelic, and is worthy of the genius it celebrates.

A mesmerising Wozzeck, thanks to the trampled dignity of Florian Boesch’s antihero, Asmik Grigorian’s gloriously sung Marie, and a thrillingly savage Netherlands Radio Philharmonic.

Markus Stenz recently conducted a triple bill of thrilling works by Dieter Ammann, Béla Bartók and Robert Schumann at the Tonhalle in Zurich. The Ammann was a world premier.

Markus Stenz conducted the Hallé in a fascinating programme of Henze, Ravel, Liszt and Beethoven at Bridgewater Hall.

An all-Beethoven concert by Markus Stenz and the Baltimore Symphony Orchestra provided an opportunity to hear familiar, not-so-familiar and downright rare repertoire from the master's pen.

Accompanied by an ebulliant Netherlands Radio Philharmonic, a fine Danish cast popped open the comedic bubbly at a concert performance of Nielsen’s Maskarade at the Concertgebouw. 

Whether Scriabin or Nemtin, the Mysterium impresses with its programme, length and orchestration.

Three substantial works from 1800, 1913 and 2008 in an enterprising and unusual combination, performed by the London Phlharmonic Orchestra conducted by Markus Stenz, and with the Moldovan violinist Patricia Kopatchinskaja as soloist.

The Hallé under Markus Stenz were on fine form in a rarity, a world première and an infrequently performed symphony.

Markus Stenz conducts the Hallé in Mahler's First Symphony, with Simone Lamsma playing Mendelssohn's Violin Concerto.

Lyrical pathos and battering choral climaxes were the strong suits at the Dutch première of Hans Werner Henze’s incendiary oratorio Das Floβ der Medusa.

With his one act opera The Rise of Spinoza Theo Loevendie wrought an attractive opera, that may well become part of the repertoire

Prom 39 at the Royal Albert Hall presented a highly unique programme spanning 250 years of classical music, with Rameau, Rands, Mozart and Strauss who all celebrate a milestone this year.

The Gürzenich Orchestra Cologne opens the Hong Kong Arts Festival with contrasting works, Mozart's reflective Clarinet Concerto and Strauss' monumental Alpine Symphony. 

Principal Guest Conductor Markus Stenz conducted a pair of very different works by fellow Germans, both featuring a strong nod towards Britain. The music spoke for itself, with a beautiful and original Brahms Requiem the highlight of the evening.The title of Brahms’ Ein Deutsches Requiem is quite significant.

Mozart and Mendelssohn are surely two of the most popular composers for both the seasoned elitist and the irregular classical listener; tonight’s offering of time-tested favourites wrapped in the summer breeze of familiarity, coupled with the rare and exciting prospect of hearing Mendelssohn’s complete incidental music for Shakespeare’s A Midsummer Night’s Dream, was likely to be a draw – and it w

Markus Stenz conducted a lean and crisp performance of Beethoven’s Eroica Symphony which remained unsentimental and lively throughout, prefaced by a nostalgically sunny Dvořák Cello Concerto with soloist Miklós Perényi.Stenz’s plan for the Beethoven was perhaps clear from the seating plan, from just six desks of first violins to two desks of double basses.

Principal Guest Conductor Markus Stenz joined the Hallé for a programme of richly romantic music in nature and name, from the impassioned chromaticism of Tristan and Isolde to the peaks and valleys of Bruckner. Stenz seemed to shirk away from easy heroism all evening, opting instead for softer and harder-won resolution.

The second instalment in The Hallé Beethoven cycle was led by Principal Guest Conductor Marcus Stenz, and also featured the striking Nordic colours of Jean Sibelius and Magnus Lindberg.Sibelius’ Symphony No.