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A fully produced performance of Brahms' Die schӧne Magelone in Philadelphia, complete with on-stage narrator and bespoke drawings, proved less than the sum of its parts.

Fauré was the finest of French songwriters. Stéphane Degout and Véronique Gens shine in a full-length evening in a packed Wigmore Hall. 

Heinrich Heine settings by Schumann and Schubert are counter-balanced by Duparc and Cole Porter in a Temple Song recital reflecting on night and day.

Tenor Nicky Spence and mezzo Václava Krejčí Housková thrill with a theatrical take on Janáček's The Diary of One Who Disappeared with pianist Julius Drake. 

Pianist Julius Drake and his two singers probe the audience’s collective soul with the depth of their Mahler performances. 

A young mezzo and a seasoned pianist performed a rendition of Winterreise that sounded very fresh indeed.

Song cycles by Ralph Vaughan Williams and Ernest Chausson are paired at the Barbican.

A deep-dive into the world of 14th-century Persian poet, Hafez, and his influence on song across the centuries. 

From Fauré and Duparc to Barber, Ives and Copland, the Canadian bass-baritone and Julius Drake explore a range of song.

Julius Drake’s torrential postlude capped an evening in which he had been superb throughout.

The Apollon Musagète Quartet captures the imaginative world of Panufnik, while Nurit and Pescia deliver a searingly intense Bloch Violin Sonata no. 1.  

International duo give immaculate recital of Beethoven, Schubert, Tchaikovsky and Rachmaninov songs.

Julius Drake, Krzysztof Chorzelski and Mark Padmore contributed their notable gifts of piano, viola and voice respectively in a very special, often heartfelt fundraising evening for two music education charities. 

Dame Sarah Connolly and Julius Drake savour the al fresco surrounds of the Villa Foce to produce a delightful evening of eclectic music in four languages. Delizioso!

Ian Bostridge's exploration of Britten and Tippett song cycles is overshadowed by a fantastic string quartet in a mixed programme at Aldeburgh.

Songs of the Sea, the opening concert of the Leeds Lieder Festival, leaves the audience in a happy and buoyant mood.

Bryan Hymel and Irene Roberts explored the boundaries of love in the latest splendid performance in the Rosenblatt Recitals.

Part of Lincoln Center’s Great Performers series, Matthew Polenzani's programme impressed. Beginning with Beethoven, he made his way from German to French by way of Liszt, then carried on with Satie and Ravel, and finally wound down the concert with a set of Samuel Barber songs and some lovely encores.

British lyric tenor Ian Bostridge presents an outstanding Schubert recital with his regular partner Julius Drake. 

To really, fully throw yourself into the chilly despair of January’s bitterest blues, you can’t beat an icy, bare-souled stroll through Schubert’s Winterreise. Here it was in the hands of Gerald Finley and Julius Drake at Wigmore Hall.

There are few London venues that manage to combine a real sense of intimacy with an international roster of artists quite as well as Julius Drake’s concert series at Middle Temple Hall. In this recital he was joined by German soprano Annette Dasch for a programme that began with a complete performance of Schumann’s Kerner Lieder.

Twentysomething Philippe Sly wields an impressive voice. Like the mythical John Henry’s hammer, it rings like silver in the upper register, the middle shines like gold, and his bass is firm as iron. From the second line of Henri Duparc’s “Chanson Triste” Sly interested with his way of rolling out phrases, englobing lines in cavernous spaces.

By adding Schubert’s Winterresie to her repertoire Alice Coote joins a long tradition of female interpreters including the likes of Christine Schäfer and her own mentor Brigitte Fassbaender. In this performance of Schubert’s great song cycle, however, it was the piano playing of Julius Drake, rather than Coote’s singing, which penetrated to the heart of the work.

Celebrating Britten’s centenary, tonight’s performance of his five canticles seemed particularly fitting. Written throughout his composing career, they are a testament to the composer’s affinity for poetry and skill at writing with particular performers in mind, and they provide an intimate commentary on Britten’s large-scale works.

Drawing names such as Sarah Connolly and Dame Felicity Lott to the dreaming spires, the Oxford Lieder Festival has defined itself as a leading musical exponent on an international level. It was fitting, then, that Alice Coote and Julius Drake should open the final weekend of the eleventh festival.

Dichterliebe is a Lieder programme staple but performances of Schumann’s anti-song cycle, the Op. 39 Liederkreis, are much harder to come by. The latter work fascinates me more, with its themes, in the twelve Eichendorff poems carefully selected by Schumann, of broken, alienated subjects longing for that from which they are cut off, namely love, nature, and some guarantee of existential wellbeing.

Tenor Ian Bostridge and pianist Julius Drake presented a stunning program of Lieder by Robert Schumann (1810-1856) and his protégé Johannes Brahms (1833-1897) on 7 March at the Perelman Theater of the Kimmel Center, as part of the Philadelphia Chamber Music Society’s fine series. The small hall, nearly full, lent itself perfectly to the intimate performance of Lieder.

Back in London after a sell-out US tour, English tenor Ian Bostridge CBE, with his wonderful pianist Julius Drake, proved his extraordinary range and versatility as a singer with a programme featuring music by Tippett, Britten, Bach, Haydn and Weill. This special concert had an extra resonance, as it marked Sir John Tusa’s last day as Chairman of the Wigmore Hall Trust.

Mezzo-soprano Katarina Karneus made a most welcome return to the Wigmore Hall, stylishly accompanied by her frequent collaborator Julius Drake, and offered a persuasive programme of Scandinavian songs.Winner of the Cardiff Singer of the World Competition way back in 1995, Karneus - it is pleasing and perhaps surprising to report - is now vocally and artistically in her prime.

The programme had been changed. No Montsalvatge, but this gave space for a lovely performance of Grieg's varied and characterful Haugtussa (Maid of the Mountain) cycle. Both performers had clearly worked at it intently, and took us with great authority through its twists and turns. The Larsson songs must be some of the strangest lyrics ever set.

Les deux chanteuses ont proposé un panorama innovant des sept péchés capitaux à travers les styles et les cultures, avec la complicité unificatrice de Julius Drake au piano.

Ian Bostridge et Julius Drake proposent une interprétation exceptionnelle du cycle schubertien, sublimée par la mise en scène de Deborah Warner et les lumières de Jean Kalman, jusqu'à l'énigme finale.

Accompagné par son complice Julius Drake, Christoph Prégardien déclame les lieder de Schumann avec l'aisance d'un comédien. Une lecture fascinante d'un classique intemporel !

Le grand duo Bostridge - Drake nous offrent un programme Schubert très personnel dont la légère superficialité ne nous empêche pas de profiter d'un extraordinaire moment de poésie.

El tenor norteamericano Matthew Polenzani hace su debut en el Ciclo de Lied junto con el pianista Julius Drake cosechando un notable éxito.

Trotz räumlicher Herausforderungen zeigt der Tenor Ian Bostridge mit dem hervorragenden Julius Drake am Klavier warum er als Meister der Lieder gilt.

Avec un tel programme, Ian Bostridge est au cœur de sa zone de confort – et d’excellence – et pourtant, il parvient à aborder ce répertoire sous un angle singulier, aux résonances très actuelles.

Le ténor anglais Ian Bostridge et le pianiste Julius Drake interprètent finement la détresse du dernier Schubert

Un moment féerique comme le vie en offre peu !

Certainement ne manquait-il qu’une adhésion commune, une complicité partagée malgré les efforts et les tentatives des trois artistes. La magie n’était définitivement pas au rendez-vous cette après-midi…