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Stéphane Denève conducts the BBC Symphony Orchestra and Chorus in music by Fauré, Boulanger and Ravel. 

An astonishing showcase, with Christian Li tackling both works with technical skill and swagger that belied his tender age. 

Before the pandemic, it was easy to take concert-going for granted, that communal sharing of classical music. One day after the easing of lockdown, the London Symphony Orchestra returned to its Barbican home to play for an audience for the first time since 15th March 2020. 

Chiyan Wong excels in Ravel, part of a diverse programme of music and dance from the Hong Kong Phil and Ballet conducted by Christoph Koncz. 

François Leleux both conducts and plays the oboe in Edinburgh, initiating a strong partnership with the Scottish Chamber Orchestra.

Who would think that a symphony concert featuring Schoenberg and Dutilleux would sell out? Well, it did – in Tokyo. Bravo to the Tokyo Metropolitan Symphony Orchestra for its daring programming.

One of America's high quality regional orchestras premieres a new Amercan piano concerto by Kenneth Fuchs, along with presenting a trio of French orchestral gems.

Waiting for sunrise while listening to the Orchestra Filarmonica La Fenice, brilliantly conducted by Alvise Casellati, created an emotional effect in the audience

At very short notice David Hill stepped in to conduct an all-French programme with the London Symphony Orchestra where serenity, elegance and passion were all beautifully communicated.

Julian Kuerti leads an inspired Orchestre Metropolitain in performances of Pelléas et Mélisande by Fauré, Sibelius and Schoenberg.

The best stories are the ones that creep under right under our skin and stay with us. Matthias Pintscher drew us up close to the fire on a dark night for a spellbinding evening.

Barbara Hannigan gives a virtuoso performance of Ligeti's Mysteries of the Macabre with the Mahler Chamber Orchestra in Lucerne.

An embarassment of 20th century riches from the Philharmonia and Tugan Sokhiev.  

Michel Plasson returns to l'Orchestre symphonique de Montréal in a program of French music and Karina Gauvin resplendent in Britten's Les Illuminations. It was an object lesson in how to capture the essential essence of French music. 

Extreme dynamics explored in Ravel's Daphnis et Chloé and Boléro presented by the Dallas Symphony Orchestra and Jaap van Zweden, complemented by Louis Lortie's Mozart. 

If there was an overall theme for this week’s Cleveland Orchestra concert, it was not discernable, which did not in any way reduce the pleasure that it brought. The distinguished Polish conductor Marek Janowski made his second appearance with the orchestra, the first having been in 2012.

Concerts with the Orchestre de Chambre de Paris are interesting experiences: attending either a symphony or a chamber concert, you might discover a new way to appreciate what you hear.

The latest Sydney Symphony Orchestra concert, entitled Legends by the Sea, was an intriguing mix of contrasting works by Sibelius, Fauré and Debussy.Sibelius’ Lemminkäinen suite was an entirely new discovery for me. If Ashkenazy himself describes it as containing “some of Sibelius’ best music”, it is definitely a discovery worth making.

If three years is sufficient to constitute a tradition then, traditionally, a Lammermuir Festival ends with a sell-out concert in St. Mary’s Parish Church, Haddington. And if year three is sufficiently far along the line to break with tradition, then this year’s surprise was not box-office focused but based on choice of repertoire; not a Bach/Handel finish, but an all-French programme.

Sir Simon Rattle is an uncommonly gifted conductor of early 20th-century French music – Debussy, Ravel, and the like. The intrigue of this concert, then, radiated not from the rostrum but mostly from the orchestra itself.

Vive la France! Last night’s Philharmonia concert was a very Gallic affair; a celebration of French music conducted by the French conductor Stéphane Denève. Fauré’s Pelléas et Mélisande, Debussy’s La Mer and Ravel’s La Valse were all written between 1898 and 1920. The composers are further linked by friendship and an entanglement à trois: Debussy’s second wife was previously the lover of Fauré.