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Don Quixote provides the inspiration for songs by Ravel and Ibert, the high point of a bitty programme in contrast to an early evening recital which followed the perfect trajectory.

Karina Canellakis conducts a Franco-Prussian program featuring Beethoven and Brahms in the first half, Chausson and Ravel in the second. 

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

Maxim Vengerov and Simon Trpčeski put their consummate musicianship on show and give us Prokofiev and Franck to remember.

David Grimal captures the rhapsodic nature of Chausson and Ravel's scores, but how well does the conductor-less approach work in non-concertante scores? 

What a day to hear an all-French programme, and with this fragile moment at its heart criticism feels futile, disrespectful even.

There is a very strong bond between two interpreters that approach music with the same unbridled passion

Elim Chan lead the Los Angeles Philharmonic through a high-powered program of Chinese and French music that began and ended with virtuoso showpieces written less than 30 years apart.

James Ehnes and Steven Osborne join forces at the Edinburgh Festival.

With a smaller programme and a humbler premise, the stars of the show – those young, immensely talented performers – could have shone even brighter

Alexandre Bloch and Royal Northern Sinfonia throw down a challenge to any listener who thinks that Brahms is comfortable and easy with a radical reading of his Fourth Symphony.

An absorbing programme of violin and piano duos from Patricia Kopatchinskaja and Polina Leschenko saw captivating performances of Webern, Bartók and Ravel with an interesting edge in Schumann.

A free public concert with Orpheus Chamber Orchestra and celebrated friends chosen for the 10th anniversary celebrations of the Colombian festival.

A recent concert by violinist Anne-Sophie Mutter and Lambert Orkis, piano, saw the Tonhalle almost having to hold people back at the gates.

Simon Trpčeski gives us precision and delicacy in a magical Ravel Piano Concerto in G major; fine singing from Karen Cargill can't prevent Ticciati's Mahler 4 from falling flat.

Sakari Oramo takes the reins for his first Last Night of the Proms, alongside dazzling violinist Janine Jansen and the BBC Symphony Orchestra.

The Detroit Symphony triumphantly returned to its summer home tonight after many years away, ending the 2013-14 season with a flourish.

This seemingly disjointed program from Jacques Lacombe and the Orchestra Symphonique de Montréal included music by Berlioz, Dvořák and Ravel, in addition to a new work by Serge Arcuri: all voyages of complementary but fundamentally different kinds.

Last night’s concert in the Usher Hall contained so many different strands, that it defies simple categorisation. One of a series of nine concerts in Scotland, its first objective was clearly to promote Miss Benedetti’s latest CD, The Silver Violin. This recording features tributes to many of the great composers who wrote film music for the silver screen, hence the title.

When I collected my ticket for this evening’s Late Mix concert in Hall Two of The Sage Gateshead, I was somewhat surprised to see it marked as unreserved seating. A computer glitch, I thought, until I walked into the hall and found that the usual rows of seats in this small, in-the-round auditorium had been replaced with café-style tables and chairs.

Even though I’ve been to quite a lot of concerts these past few years, I still can’t put my finger on why some concerts attract many attendees and especially why some are so sparsely visited.