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The Grand Théâtre de Genève is certainly not risk-averse and Hungarian director Kornél Mundruczó controversially translates the action to a penthouse bar in New York.

Jukka-Pekka Saraste’s Pittsburgh program makes a strong impression in coloristic works from the early 20th century, while pianist Tom Borrow has a memorable debut.

The victor at the 2021 Chopin International Piano Competition is predictably brilliant in his Singapore Symphony Orchestra debut.

Jukka-Pekka Saraste conducts the Dallas Symphony in a Sibelius tone poem and a Shostakovich symphony, both works of great tragedy.

Two powerful, virtually contemporaneous statements from Prokofiev and Nielsen: Denis Kozhukhin is a commanding soloist in the concerto and Jukka-Pekka Saraste with the BBC SO convincingly ride the waves of the symphony.

Two powerful symphonic statements by a Ukrainian and a Finnish composer flanking a calm and courtly concerto by Mozart: Jukka-Pekka Saraste and the London Philharmonic Orchestra, together with the American pianist Richard Goode.

A superb cast of singers is let down by Christoph Marthaler's cold, stilted staging as Reimann's Lear returns to its birthplace.  

Katarina Karnéus displayed sovereign English diction, elegant musicianship and a sense of dramatic scale in Sea Pictures.

Saraste’s mastery in Sibelius is hardly a surprise, and neither is the calibre of the orchestra Sibelius himself often visited to conduct.

Works by Alban Berg and Gustav Mahler recently heralded this year’s concert season in Zurich, where Artist in Residence Janine Jansen gave a superb performance. 

Radu Lupu produces Mozart so sublime as to delight the angels, Saraste and the Zurich Chamber Orchestra give us a lesson in poise, balance and blended sound.

Music by the unhappy couple precedes a bombastic rendition of Janáček’s Glagolitic Mass by the Oslo Philharmonic orchestra and choir under Jukka-Pekka Saraste.

Besides Giltburg’s superlative play in Grieg, Saraste’s Sibelius swept you off your feet. 

Where should the ideal Mahler 5 sit on the Bernstein-to-Boulez spectrum? Saraste and the LPO had a persuasive answer.

In Jukka-Pekka Saraste's hands, Mahler's Sixth Symphony is an unrelenting work which left the audience gasping for air at its stunning conclusion.

The BBC Symphony Orchestra continued to offer its audience adventurous programming, with this evening’s London première of Brett Dean’s Dramatic Personae.

Jukka-Pekka Saraste and the Oslo Philharmonic give disappointingly cold performances of Brahms' Piano Concerto no. 1 and Tchaikovsky's Symphony no. 6.

Renaud Capuçon and the LPO fail to make the most of Schumann's Violin Concerto, but Saraste's fast, rhapsodic Bruckner made up in beauty of orchestral sound for an unconvincing overall interpretation.

Arnold Schoenberg’s 1912 melodrama Pierrot lunaire is a work of many paradoxes. The main character, Pierrot, is a man usually sung by a woman; the instrumentalists serve both as soloists and as an accompanying orchestra; it is performed using a style of singing more akin to stylised speech than actual singing; and it straddles the divide between high art and cabaret.

Romanticism found both its source and its end at Salle Pleyel on Tuesday night: Beethoven’s Egmont overture, incidental music for a heroic drama written by Goethe, and his Fifth Symphony, where it has been said that “Fate knocks at the door” – both works composed before 1810 – and Richard Strauss’ Four Last Songs, created in 1948, when the last notes of Romanticism in music history were dying slow

Thursday’s concert in the Oslo Concert House marked the end of an era. It was, along with the concert the following evening, the final concert of Jukka-Pekka Saraste, the orchestra’s principal conductor for the last seven years. Final, as in his final concert as principal conductor: the orchestra isn’t letting go of him that easily.

Thursday’s concert with the Oslo Philharmonic Orchestra started not with music, but with an award ceremony. It was the Norwegian Sibelius Society that gave away its annual award for the strengthening of cultural ties between Norway and Finland.

What do Schubert’s Third Symphony and Mahler’s Das Lied von der Erde have in common? Not a whole lot, which is why it came across as rather puzzling that the two pieces should be programmed together. Yet, in the Oslo Philharmonic’s September 6 and 8 concerts, they were. The result was a mixed bag of two wildly different works, written almost a century apart.Schubert’s Symphony no.

In a castle in mediaeval Denmark, King Waldemar and Tove sing rapturously of their love. But dark deeds are afoot: a Wood Dove tells us that Tove has been murdered by Waldemar's jealous queen, Waldemar berates God, he and his men are condemned to rise from their graves every night and ride in a wild hunt - all this to the accompaniment of a giant, brass-laden orchestra playing a lush, opulent symp

This fall the Rotterdam Philharmonic have a series of concerts under the title of “Russische Herfst” (“Russian Autumn”) – with music from some of the great Russian composers such as Mussorgsky, Rimsky-Korsakov, Prokofiev and Shostakovich.