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From Mendelssohn’s intimacy to Bruckner’s monumental scale, Eschenbach’s young orchestra reveals chamber-like sensitivity and steely discipline, with Midori’s interpretation standing as the evening’s emotional and artistic highlight.

The Oxford Philharmonic offers uninspiring renditions Bach and Mendelssohn, highlighting both the strengths and weaknesses of the orchestra under the baton of Christoph Eschenbach. 

Joshua Bell brings virtuosic fireworks and generous tone to works by Chausson and Vieuxtemps, while Christoph Eschenbach delivers a Brahms 1 devoid of fresh insight.

Conductor Christoph Eschenbach brings style and sophistication to a freewheeling finale to this year's festival, ending with Beethoven's Ninth Symphony.

At Berlin's Konzerthaus, Chief Conductor Christoph Eschenbach leads the premiere of Christian Mason's orchestral work An Ocean of Years and reunites with American pianist Tzimon Barto.

For the composer's birthday, a mismatch of performers and repertoire.

Classy performances from Leonidas Kavakos and Ying Fang, joining Christoph Eschenbach and the Verbier Festival Orchestra in a polished Berg Violin Concerto and a sublime Mahler 4.

Eschenbach’s command of the orchestra shone most in the Adagio of Bruckner’s Ninth Symphony, where the climaxes brought out the full gravitas of the work.

What started with anomalies with the Hong Kong Phil ended in triumphant good cheer.

The Bamberg sound remains particularly noticeable in the unanimity and broad, rich beauty of the strings and the sublimely eloquent woodwinds, and the musical authority that lies in the roots of its history. 

Joining Maestro Christoph Eschenbach and the musicians of the Bamberg Symphony Orchestra for a tour across the United States, Chen headlined a pops concert of Austro-German music, complete with a riveting interpretation of the Mendelssohn Violin Concerto and an sufficient performance of Mahler’s Fifth.

A first performance of Weinberg for the NSO and a thoroughly fearsome Shostakovich Eighth.

Nicola Benedetti gives energetic rendition of Marsalis' Violin Concerto.

Britten's The Turn of the Screw finally makes its debut at La Scala in Kasper Holten's eerie staging. 

The NSO ends their season with a fullsome Bruckner's Fourth Symphony. 

Picker's succesfully enigmatic premiere of his Opera without Words

Tonight’s all-Germanic program was a selection of items that the Nationa; Symphony Orchestra will be playing next month on the other side of the Atlantic.

The latest concert by the Spanish National Orchestra was a fascinating opportunity to explore the contrast between Wagner and Stravinsky.

Christoph Eschenbach returned to the Concertgebouw with another smashing success, leading the London Philharmonic Orchestra in a programme of Beethoven, Brahms, and Rihm.

Big moments, largely conceived, but somewhat lacking in overall unity.

Lang Lang powers through Grieg's Piano Concerto to general acclaim.

Penderecki's haunting Concerto Grosso for Three Cellos, a first for the National Symphony Orchestra. 

Stunning Boléro as Washington National Symphony continues its theme of Spanish escapism in this month’s Iberian Festival. 

A strident Mozart concerto from Christopher Park, followed by an expansive but richly varied Bruckner Sixth from Eschenbach.

Risks bring rewards as Matthias Goerne and Christoph Eschenbach present Die schöne Müllerin at Carnegie Hall.

Dancing teddy bears, a larger-than-life Sarastro, live birds and numerous airborn characters all make the brand new production of Mozart’s beloved Singspiel at the Staatsoper a very family-friendly event.

No exploration of the relationship between spirituality and 20th-century music can delve to any sorts of depth without discovering the figure of Olivier Messiaen, the religiously-influenced composer par excellence in a century characterised by the emancipation of art from religion.

In program notes, Christoph Eschenbach, music director of the National Symphony Orchestra, calls Parsifal “the culmination of Wagner’s work”. For his orchestra’s recent celebration of Wagner’s bicentennial at the Kennedy Center, Eschenbach programmed a concert performance of Act III of the composer’s final opera: the culmination of the culmination, one could say.

Vienna is a nostalgic town, and in few places is the past clung onto more tightly than at the State Opera, where a Tosca created for Renata Tebaldi has been pressed creakingly into service for over 55 years now.

It is an extraordinary feat to take on Schubert’s Winterreise, Die Schöne Müllerin and Schwanengesang in three concerts over only five days, and performing them in Vienna’s Musikverein certainly does nothing to relieve the pressure.

Established in 1987 by Leonard Bernstein, the Schleswig-Holstein Festival Orchestra last year joined the exclusive club of youth orchestras to have performed at the Salzburg Festival and was immediately invited back for a return appearance this season.

Before embarking on a much hyped tour of South America, Christoph Eschenbach and the National Symphony Orchestra concluded their Kennedy Center season with a crowd-pleasing program of Romantic favorites.

Disney Hall’s week-long tribute to the music of Franz Schubert came to a grand close last Friday. Or should that be “Great?” As in Schubert’s hour-long Symphony no. 9, also known as the “Great.” And great it certainly is: not merely in the symphony’s musical material, which is some of the finest ever crafted by this composer. But also great in its proportions.

Late in life, the conductor Bruno Walter would often recall the moment Gustav Mahler first showed him the manuscript to the as yet unperformed Das Lied von der Erde. The work, with its poignancy and profound world-weariness, seemed even to take its composer aback. “But don’t you think it’ll make people want to do away with themselves?,” he said of the work.

It is one of those strange – but ultimately fortuitous – ironies of history that a set of poems intended to be a satire of the gloomy, luckless romances that burst forth from Europe in the wake of Goethe’s Sorrows of Young Werther should itself become the heartbroken romance par excellence.

The first thing that caught my eye Wednesday night was the sheer size of the Boston Symphony Orchestra; they took up every inch of free space atop the Perelman Stage at Carnegie Hall. So when the first note from Hector Berlioz’s Overture to Benvenuto Cellini rang out, the sound enveloped the hall, inserting itself into every nook and cranny.

One wonders what each of the composers might have thought about being programmed in the same concert. Brahms had some unpleasant things to say about Bruckner, famously that his symphonies were a swindle; and Bruckner remarked that Brahms is Brahms, but he, Bruckner, preferred his own stuff.