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Sakari Oramo and the BBCSO are in their element in rich repertoire including Szymanowski, Pejačević, Wagner and Strauss. 

Mahler's epic five-movement symphonic song cycle is performed by a chamber ensemble with mixed results.

Some 37 years after his Singapore debut, the cellist revisits Saint-Saëns' First Cello Concerto with the Singapore Symphony and Han-Na Chang. 

In her first appearance with the orchestra this season, Nathalie Stutzmann offers overly tentative readings of Verklärte Nacht and Siegfried Idyll, alongside perfunctory excerpts from Don Giovanni.

The young Norwegian conductor Tabita Berglund has been making waves on the international circuit and is already exhibiting much promise. Here she directs the Hallé in an eclectic mix of Wagner, Golijov and Beethoven.

Dvořák's Cello Concerto takes star billing after Rory Macdonald conducts the RLPO in Wagner's Siegfried Idyll.

Music Director Louis Langrée leads a program of Schubert, Julia Perry's Homunculus CF and Anthony Davis's You Have the Right to Remain Silent, featuring Anthony McGill as an outstanding clarinet soloist.

Yannick Nézet-Séguin leads the first US performance of Vivian Fung's Prayer, which he premiered with the CBC Orchestra over the summer, alongside works by Copland and Wagner.

From two dreamy idylls to the agitated world of Shostakovich, a fine online programme from Kahchun Wong and the Singapore Symphony Orchestra in the Esplanade Concert Hall.

The West-Eastern Divan Orchestra presents a superb programme executed with power and urgency to herald the return of public music-making at the Pierre Boulez Saal.

After its Covid-19 “Quarantine soirées”, the Budapest Festival Orchestra celebrates the end of lockdown by taking on a two-concert international tour!

A high-spirited programme in Tivoli Vredenburg that struck just the right note of hope and renewal as the classical music scene across Europe reawakens.

In Atlanta, guest conductor Emmanuel Villaume and pianist Andrew von Oeyen powerfully perform a Liszt concerto.

A rare and compelling performance of Beethoven's string quintet was the centrepiece of another instalment in the Nash Ensemble's traversal of German Romantic composers.

Viotti will return to La Scala to conduct Gounod's Roméo et Juliette in 2020. The programme this time round gave an indication of some of the positive qualities to expect. It also warned of some potential pitfalls.

In Minneapolis, Markus Stenz and Louis Lortie present time-honored Austro-German symphonic masterpieces in committed and compelling performances.

Jonas Kaufmann and Camilla Nylund tackle the roles of Tristan und Isolde for the first time in Andris Nelsons' all-Wagner concert. 

Schoenberg's extraordinary orchestration of Brahms' G minor Piano Quartet completes a satisfying Sydney Symphony Orchestra concert under the baton of Matthias Pintscher. 

Disappointing Mozart compensated by a lively new work by Fazil Say in Heidelberg. 

The final performance of Yannick Nézet-Séguin's Brahms cycle with the Rotterdam Philharmonic Orchestra is decent, but falls short of the excellence of the other three symphonies he performed. 

Nelsons impresses in Brahms' Third Symphony with the CBSO, while Isabelle Faust's account of Britten's Violin Concerto may have been a work in progress rather than the finished item.

Auckland Chamber Orchestra returned to Raye Freedman Arts Centre with a typically eclectic programme. The pieces were performed in reverse chronological order, from Ligeti of the 1950s back to Wagner of the 1860s, via Poulenc and Janáček.

All was set for the Berkeley Symphony to launch its new season, the fifth under the direction of Joana Carneiro, when a moment of panic, no doubt, rattled the front office. Due to a medical condition that temporarily prevented air travel, Carneiro would be unable to reach Berkeley in time to lead on 3 October.

After hearing the Welsh Sinfonia’s last concert in January 2013, I was pleased to have the opportunity to attend their Gala Finale concert this month. This was particularly the case since it included a première of a new composition by Roxanna Panufnik, daughter of Andrzej Panufnik, whose Epitaph I heard finely performed by the BBC National Orchestra of Wales in March.

The Wagner bicentennial marches on, bringing grand sounds from practically every corner of the musical earth. What appear most frequently on concert programs are various extracts from the operas, such as the collection of preludes, overture, and vocal and orchestral excerpts offered by the Boston Symphony Orchestra and Daniele Gatti at Carnegie Hall.

Few conductors preface Bruckner’s vast Eighth Symphony with an amuse-bouche before the interval. If they do, they tend to pick one of three options, all of which make sense in different ways. Rarely there might be a new composition. More often you hear Haydn or Mozart, especially from the older guard of Brucknerians like Bernard Haitink, Daniel Barenboim, and so on.

The Nash Ensembles' "Echoes of Romanticism" series at the Wigmore Hall, of which this concert was a part, is not really an exploration of romanticism as such, but rather a charting of the rise and fall of Teutonic music between Mozart and Schoenberg.

In a concert featuring two works of Richard Wagner (one a concert piece, the other an adaptation from an opera score), the Dallas Symphony Orchestra under conductor Jaap van Zweden made their biggest statements in works by Mozart and Debussy. The fascinating program paired the Wagner works, one in each half, with those of the supposedly more “demure” high-classicist and arch-Impressionist.

Continuing their season-long Beethoven cycle, the Hallé programmed the Fifth Symphony with a neo-romantic piano concerto by Samuel Barber and Wagner’s Siegfried Idyll, forming an eclectic mix of works to which orchestra and conductor responded very well.

Twice in a week we have enjoyed ideal concert experiences in which all the elements came together; Mozart at Wigmore Hall and this at Cadogan Hall.

In this intensely Romantic programme, the choice of music pointed to the ways in which art and life can be closely intertwined, from Wagner's Idyll to celebrate the birth of his son (also called Siegfried), to Joachim's fingerprints in the Brahms concerto or Strauss's tone poem on Death and Transfiguration.