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Jurowski and the Berlin Radio Symphony Orchestra give the Konzerthaus a night to remember with pungent renditions of Goldmann, Weill and Stravinsky's Jeu de cartes.

Problems of balance bedevilled a fine programme of some of Weill's most bitter, ironical works which improved substantially after the interval.

Director Barbora Horáková Joly and conductor Jiří Rožeň offer a fresh take on a pair of 20th-century psychodramas.

As theatre, Isabelle Kettle's staging of Kurt Weill's Seven Deadly Sins is timelessly harrowing and bang up to date.

Weill and Brecht's excoriating satire is brilliantly executed; after such an intense opener, Mahagonny-Songspiel is less convincing.

Director Ola Mafaalani has created an absorbing and completely cinematic version of the opera, combining stationary and handheld cameras to create a pictorial variety of perspectives and expressionistic framing

Brecht and Weill's Seven Deadly Sins, directed and choreographed by Gary Clarke and conducted by James Holmes, is performed by Opera North in a live-streamed performance from Leeds Playhouse.

The Los Angeles Philharmonic under Salonen look back at the dwindling twilight years of the Weimar Republic. 

Performing both works for the first time, the RCO capered crisply through Shostakovich’s Suite from The Nose and played sumptuously in Weill’s The Seven Deadly Sins, with captivating songstress Wende.

Storm Large’s version of The Seven Deadly Sins provides a modern update of Weill and Brecht’s take-down of capitalism, misogyny and exploitation.

Despite some very creditable orchestral playing, conductor Joshua Weilerstein never quite got anywhere with his programme of Bach, Weill and Brahms.

The BBC Symphony Orchestra brought together the music of two very different composers forced into American exile by the Third Reich.

Stéphane Rancourt gives the world première of John Casken's Apollinaire's Bird alongside brilliant Shostakovich and Weill.