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Under Marin Alsop, the Chicago Symphony string players also offered a lyrical reading of Jessie Montgomery’s beguiling Strum.

William Kentridge's film, a patchwork collage depicting Shostakovich's complicated relationship with Stalin, is played as film score to his Tenth Symphony at the Southbank's genre-crossing Multitudes festival. 

For her debut at the head of the Berliner Philharmoniker, Marin Alsop reflects on what a ‘home’ is through works by Tarkiainen, Dean, Copland and Villa-Lobos. 

After going viral with Rachmaninov's Third Piano Concerto at the Cliburn two years ago, soloist and conductor tackle his Second with a balance of lyricism, wit and fire.

John Adams’ Nativity oratorio is fully staged in a new production by Lileana Blain-Cruz, her first time directing at the Met. 

Lydia Steier's new production of Candide is a kaleidoscopic celebration of Leonard Bernstein's varied musical idioms. 

Making a rare guest appearance in Seattle, the trailblazing conductor brings fresh intensity to familiar Shakespeare-inspired repertoire.

Personnel changes plague the world premiere of Vespers of a Blessed Earth, which sounds an urgent musical alarm on the harms of climate changes.

Hannah Eisendle's Heliosis proves the highlight of Prom 36, with Benjamin Grosvenor giving a performance of quality in Prokofiev's Third Piano Concerto.

The American conductor led strong, characterful performances of Britten and Shostakovich that prompted some misgivings by their execution but made a powerful impression overall.

Alsop and the London Philharmonic do full justice to Barber and give Soltani's cello superlative support in Shostakovich, but sound inappropriately restless in Brahms.

Marin Alsop conducts the Polish National Radio Symphony Orchestra in colorful repertoire including a concerto by Stanisław Skrowaczewski. 

The program paired works of two living female composers with a suite of selections from Porgy and Bess, featuring star soprano Angel Blue.

Jane Archibald gave possibly the most dazzling account of Cunegonde's music that I’ve heard. 

The Bournemouth Symphony Orchestra mark the Bernstein centenary with a performance of Chichester Psalms in Chichester Cathedral itself. 

Marin Alsop and the Orchestra of the Age of Enlightenment lead a searing account of Brahms' German Requiem and Vaughan Williams. 

Bernstein's Slava! and Age of Anxiety aren't the best examples of his concert music, but Marin Alsop and the BSO made the best possible case for them. 

In an all-Bernstein programme, Nicola Benedetti enthralls in Symposium, the Baltimore Symphony’s percussionists strut their stuff in the Symphonic Dances from West Side Story, and Marin Alsop introduces us to rarities. A true birthday treat.

In her first collaboration with the OAE, Nicola Benedetti brought exquisite tone – and a new cadenza – to Beethoven's Violin Concerto. 

It was fitting that Marin Alsop – Bernstein’s protégé in his final years – should pair Mahler and Bernstein symphonies for this second LSO concert marking his centenary.

The Royal Philharmonic Orchestra provided a formidable performance of Shostakovich's Seventh Symphony under Marin Alsop, with Renaud Capuçon bringing warmth and joie de vivre to Mendelssohn.

To celebrate Philip Glass’s 80th birthday the BBC honoured him with one their invaluable Total Immersion days, of which this concert with the BBCSO conducted by Marin Alsop was the climax.

In the penultimate concert of the 2016 Proms, Marin Alsop drew together some impressive forces for Verdi's Requiem, led by the remarkable soprano Tamara Wilson.

In true Olympian spirit, Marin Alsop and her São Paulo Symphony Orchestra dived head first into the drama of Brazilian music, with luxurious Rachmaninov and Gabriela Montero freely expressive in Grieg.

Marin Alsop nods to her mentor in Bernstein’s Chichester Psalms, challenges the Edinburgh Festival Chorus with Villa-Lobos' Chôros 10 and astonishes in a passionate enduring performance of Shostakovich's Fifth.

Marin Alsop led the musicians of the Baltimore Symphony Orchestra at Carnegie Hall on Saturday evening in the New York première of Kevin Puts and James Bartolomeo’s The City and a valiantly led execution of Mahler’s Fifth Symphony.

Schumann's Violin Concerto is a relative rarity in the concert hall, but Patricia Kopatchinskaja's performance did little to suggest a neglected masterpiece.

Marin Alsop made belated subscription debut with the CSO Thanksgiving weekend with a varied program contrasting 20th and 21st century British and American works with Dvořák's tragic Seventh Symphony.

Flags, balloons and musical revelry bring the BBC Proms season to a close. 

Jamie Barton emerged as the star of the OAE/Marin Alsop's all-Brahms Prom, which included the first Proms performance of Brahms' Triumphlied.

Virtuosic playing from the LSO under the decisive leadership of Marin Alsop enlivened the divergent soundscapes of Bartók, Korngold and Rachmaninov. 

Alsop leads the BBC SO in vivid and colourful performances of John Adams, concluding with stunning Mahler.

Marin Alsop leads the Cleveland Orchestra in Schumann's Piano Concerto with soloist David Fray, as well as Samuel Barber's Second Essay and a dramatic reading of Aaron Copland's Third Symphony.

On the final night of their mammoth European tour, the São Paulo Symphony Orchestra played a brilliantly energetic programme to a delighted Bridgewater Hall audience. There was a great deal to commend in the playing, despite some capricious tempo choices in Mahler’s first symphony.

There is a tendency in the reviews of Marin Alsop to start by mentioning the obvious; that is, she is the first female conductor to have conducted the last night of the Proms and that she is the first female Music Director of the Baltimore Symphony Orchestra. So let me start with the surprising: that Alsop is Irish.

On Friday, 25 October, the São Paulo Symphony presented an energetic and polished performance at the Southbank Centre. Part of the “The Rest is Noise Festival” focused on 20th century music, this programme took the turbulent 1960s as its theme.

The Last Night of the Proms provided a welcome tying-up of the various strands that have permeated this year’s season: British light music, the 60th anniversary of the Coronation, a host of premières and new BBC commissions, and the significant anniversaries of a number of composers (including the big-hitters of the season, Wagner and Britten).

Who says life isn’t a dress rehearsal? Saturday night at the Proms was just that for New York-born Marin Alsop, for when she returns to the Royal Albert Hall in two weeks’ time she will make Proms history as the first female conductor to preside over the Last Night.

When we think of America, Dvořák and Milhaud are not among the first set of composers to come to mind, but it turns out they deserve to be among the second.

It’s Richard Wagner’s bicentennial year, and everyone is getting in on the act. 22 different productions, by one count, of the complete Ring cycle will be seen worldwide, not to mention countless other celebratory evenings put on by sundry ensembles.

If there was any sense that the Marin Alsop was at the end of a particularly harried week for her, she displayed no signs of it at her “Casual Friday” concert with the Los Angeles Philharmonic on Friday 2 November. The Baltimore-based conductor found herself at the center of the headlines last week – albeit for reasons she probably would have preferred to have passed up on.

Five years on from her historic appointment as the first woman to head a major American orchestra, Marin Alsop took to the stage of Zellerbach Hall in Berkeley Friday night with a swagger, leading the impressive Baltimore Symphony, the orchestra with whom she has made her mark as one of the world’s leading conductors.

The short life and terrifying death of Joan of Arc are the subject of Arthur Honegger’s Jeanne d’Arc au bûcher ("Joan of Arc at the Stake"), a curious masterpiece of an oratorio dating from 1938. The nearly-forgotten work received a well-deserved resurrection by Marin Alsop and the Baltimore Symphony Orchestra at Carnegie Hall on Saturday night.

When death takes away everyone you ever loved, acting cool and staying amiable might not be the easiest things to do. You start having thoughts you never dared think before. You start questioning the unquestionable. Chances are you will turn into an agnostic. Giuseppe Verdi did.

A powerful voice in classical music, American conductor Marin Alsop, with the London Philharmonic Orchestra, challenged audiences at the Royal Festival to engage with contemporary classical music in an imaginative way.