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Alice Coote imbues every word of Mahler’s deeply affecting song-cycle with expressive intensity. Ryan Wigglesworth and the BBC Scottish Symphony Orchestra struggle to match that achievement in Brahms and Schoenberg.

The towering Fifth Symphony was cohesive and unusually refined, while Peter Mattei brought elegance and passion to Kindertotenlieder.

The German baritone was as extraordinary as ever in a programme with Robin Ticciati and the BRSO in Munich.

Every August, the Hiroshima Symphony Orchestra gives a concert to commemorate and reflect on the tragedy of the Atomic Bombing of Hiroshima on 6th August 1945.

The players of the Budapest Festival Orchestra once again proved themselves to be a remarkably cohesive ensemble.

Tragedy turns to joy in an evening laden with expectations and emotion.

Ater seven years at the helm and a controversial early departure, Thomas Hengelbrock gives his final concerts as principal conductor of the oldest German radio orchestra.

Sir Mark Elder conducted the Hallé in a fine Shostakovich 15 following moving performances of Rachmaninov's The Isle of the Dead and Mahler's Kindertotenlieder, expertly sung by Roderick Williams.

Friday’s concert served as an interesting showcase of music that, undeservedly, isn’t performed too often. Even though the performances were somewhat lacking, the quality of the music shone through.

Marie-Nicole Lemieux and Yannick Nézet-Séguin score personal triumphs with l’Orchestre Métropolitain in their first concert together in thirteen years.

There seemed to be an air of general disinterest surrounding the Oslo Philharmonic last Thursday. They were playing what on paper seemed like a fairly interesting programme, Grieg’s rarely heard orchestration of his Lyric Pieces, Mahler’s devastating Kindertotenlieder and Schumann’s triumphant Symphony no. 2, and yet it somehow didn’t seem like it was of much of interest to the orchestra.

Strauss's Tod und Verklärung is the work of a young man seeking to impress with his profundity and modernity after his early success with the wildly exuberant Don Juan. It is often said that the "death" part is more convincing than the "transfiguration" part, and this is largely true - while the former comes off beautifully, the latter is far too prosaic musically for the exalted subject matter.