Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Cello Concerto no. 1 in C major, Hob VIIb:1

A young cellist impresses in Haydn's C major concerto, but the same key in Schumann's Second Symphony exposes weaknesses in the conductor's approach.

Before the planned program of Bartók and Haydn, the Boston Symphony Orchestra and conductor Karina Canellakis honor Seiji Ozawa with Bach's Air on a G String. 

A Colombian conductor and French cellist shine in a crowd-pleasing program ranging from Haydn to Bartók.

Guest conductor David Robertson led ponderous accounts of the "Pastoral" Symphony and Haydn's Cello Concerto no. 1, alongside a new work by the promising American composer Reena Esmail.

Haydn holds his own between Stravinsky and Shostakovich, thanks to an impassioned performance by Li-Wei Qin with the West Australian Symphony Orchestra. 

The City of Birmingham Symphony Orchestra and its former Music Director thunder in Disney Hall in the latest stop on their US tour.

Sheku Kanneh-Mason and the CBSO give a flat rendition of Haydn in an otherwise emotionally-conflicted, moving evening featuring Weinberg, Elgar and Thomas Adès.

Vasily Petrenko conducts a performance of Vaughan Williams' Fifth Symphony that hit the right note from first to last. 

Cellist Stéphane Tétreault's rendtion of Haydn's Cello Concerto no. 1 in C major was the highlight of the evening.

Mr Tsuyoshi Tsutsumi had wisdom and depth in his sound, while the young were eager and energetic.

Herbert Blomstedt returns to the Boston Symphony for a rewarding matinee program of Haydn and Brahms. 

Ádám Fischer and the Orchestra of the Age of Enlightenment gave a thrilling account of Beethoven's Seventh, and there was much to admire in Steven Isserlis' intelligent reading of Hadyn's Cello Concerto no. 1.

It is a testament to Ma’s power as a musical force that, despite the typhoon-related weather raging outside, the auditorium was packed to capacity. 

Challenging musical norms and blurring the lines between genres, Manchester Camerata shows off its "restless ambition" at the RNCM.

Rafael Payare's energetic conducting of his Ulster Orchestra in Tchaikovsky, Haydn and Hellawell showed how fortunate Belfast is to still have this skilled musical force. 

Variety, energy and drama with Long Yu and the Hong Kong Philharmonic.

Detlev Glanert's homage to Johannes Brahms as a curtain-raiser to Paul Watkins' performance of Haydn's C major cello concerto and a welcome anticipation of Brahms' first symphony conducted by Semyon Bychkov.

Jonathan Nott, Johannes Moser, and the CSO portray a traditional program in particularly evocative fashion

The orchestra's principal cellist Mark Kosower gave a performance of Haydn's Concerto in C notable for its transparency and grace at this late summer Blossom Festival concert.

One of the pleasures of live music-making is seeing as well as hearing: one gets a sense of a performance as a multi-layered communicative act rather than solely as a sequence of beautiful sounds. In Saturday evening’s ACO concert with the extraordinary cellist Giovanni Sollima as soloist, the visual dimension contributed more than usual to the effect of the whole. 

While this concert’s marketing was focused on Mozart’s Requiem, it was Haydn in the first half that made the greater impact, in the form of an ecstatically virtuosic performance of his Cello Concerto no. 1 with soloist Alban Gerhardt. Passagework was everywhere immaculately tuned and played with perfect dexterity, Gerhardt’s fingers dancing up and down the instrument with tremendous velocity.

For whatever reason, performers have always seemed to fear the fourth wall. They are content to let their music speak for itself, and any attempt to address the audience verbally is often considered lowbrow. This makes sense in some regards, as it facilitates the image of performer as master and lends artistic integrity to the music.

Anticipation is running high for the kick off of San Francisco Opera’s summer season on Friday, June 8, 2012, with the local premiere of John Adams’s Nixon in China. As a sort of appetizer to the five-week season music director Nicola Luisotti and his players gave an orchestral concert on June 3 at Zellerbach Hall in Berkeley.

The European Union is not something one would normally expect to be associated with music, but their chamber orchestra is exceptional. Formed in 1981, they now have a worldwide reputation as musical ambassadors. Opening an evening of style and grace at St George’s, Bristol with Handel’s Arrival of the Queen of Sheba, the orchestra gave an air of confidence.