Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Dima Slobodeniouk

Dima Slobodeniouk returns to Cleveland for an evening of Romantic era masterworks, and pianist Nobuyuki Tsujii makes a memorable local debut.

Dima Slobodeniouk’s Pittsburgh program is centered around ocean-inspired music of Debussy, Sibelius, and Icelandic composer María Sigfúsdóttir.

Musical partnerships do not always work, but they did here in Beethoven's final piano concerto. Dima Slobodeniouk displayed once again his credentials as a compelling interpreter of Sibelius.

The New York Philharmonic's first presentation of Julia Perry's Stabat Mater draws attention to an undeservedly forgotten score.

Substitute contralto Avery Amerau makes a fine Boston Symphony Orchestra debut in a top notch evening of (mostly) French music.

Conducting the LPO, Dima Slobodeniouk plumbs the depths of Sibelius' Second Symphony, while Beatrice Rana reveals the bewitchment at the heart of Mendelssohn's First Piano Concerto.

Thanks to an extraordinary ensemble effort by everyone involved, old friends arrived wearing expertly tailored new clothes inviting a closer look.

Excellent playing from The Royal Stockholm Philharmonic and an interesting programme of less familiar works by familiar composers, made for an exhilarating musical experience.

Dima Slobodeniouk’s Cleveland Orchestra program included music by Rachmaninov and Nielsen, along with a Liszt piano concerto with Marc-André Hamelin.

Baiba Skride gripped the audience in Sibelius's Violin Concerto in the opening concert of this year's Sibelius Festival in Lahti, along with some rarities by the composer.

There is nothing quite like an all-Beethoven programme for filling a large concert hall. Last night’s offering from the RSNO in Edinburgh’s Usher Hall was ample proof of this, with hardly a spare seat anywhere in the house.

As a big Shostakovich fan, I was very excited when I found out that his 13th Symphony ('Babi Yar') would be performed this season. It's a work that does not appear that often in concert halls, probably because it not only requires a large orchestra, but also a more-than-adept bass soloist and male chorus.