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A thrilling, expansive Bruckner 3 is preceded by Beethoven's Egmont overture and Elizabeth Atherton singing Kaija Saariaho's exquisite Leino Songs.

Britten and Shostakovich rub shoulders at Kings Place in a programme that careers into darkness with the latter's desolate Fourteenth Symphony. 

Nine symphonies, five orchestras, two days: an immersive weekend as part of the Barbican's Beethoven 250 coverage featuring some of the UK's finest orchestras. 

Jennifer Higdon's blue cathedral holds its own alongside more familiar American pieces by Adams and Barber plus the “New World” Symphony.

Elizabeth Atherton sang with a keening intensity, and gave a voice to every grieving mother and child.

Experiments in music and ideas brought together by the London Sinfonietta and guests at a special concert all about space and time.

Alessandro Talevi's production of Don Giovanni, conducted by Christoph Altstaedt, receives a welcome revival at the Grand Theatre, Leeds. 

Ryan Wigglesworth conducts a Huw Watkins première and a grand-scale account of Beethoven’s Ninth Symphony

Strong casting but intrusive direction makes this Fidelio a bizarrely intriguing experience, salvaged by some memorable singing. 

Luis Buñuel's derision at the sense of entitlement of over-privileged, self-righteous prigs shines through a high quality operatic adaptation.

Few composers have made such a notable impact in setting the St Luke Passion narrative, and this impressive performance under an inspired Vladimir Jurowski made clear its relevance today.

Pascal Rophé, Elizabeth Atherton and the BBC National Orchestra of Wales celebrate Dutilleux’s centenary year with five contemporary works associated with the composer

Two short works by Harrison Birtwistle put forward interesting views of classical themes: the psychologically involved The Corridor and a dynamic new vision of Medea, The Cure. 

Grand Holst and the première of Mark Bowden's A Violence of Gifts, performed with bombastic gusto and colour.

A riveting performance of Schoenberg's Moses und Aron, despite the absence of the golden calf, the burning bush, Sodom and Gomorrah. 

Starting a concert season with two works with Requiem in the title might sound rather gloomy, but not when one of them is Brahms’ beautiful, consolatory German Requiem, and particularly not when it’s placed in the hands of Thomas Zehetmair, who unfailing brings out the warmth and humanity of Brahms’ music from the musicians of the Royal Northern Sinfonia.

With his centenary year fast approaching, Saturday night’s concert was a celebration of all things Britten. The festivities have certainly begun in style in Oxford, with Nicholas Cleobury leading the Oxford Bach Choir, the English Chamber Orchestra and soprano Elizabeth Atherton in some truly outstanding music-making.

Director Alessandro Talevi’s imagination, wit and audacity meant that Don Giovanni, which has just launched Opera North’s new season, was a huge success. The production was enthralling throughout, never dragging or disappointing, even in the second act. It works much better than others I have seen, because the emphasis is placed firmly on the comic rather than the pathetic.