Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Violin Concerto no. 3 in G major, "Strassburg", K216

There is a feast of inspiration for composers in the story of Romeo and Juliet, Tchaikovsky and Prokofiev each responding differently. Randall Goosby provides an excellent contrast in Mozart’s musical sunshine.

Conductor Christian Reif and violin soloist Randall Goosby together make highly satisfying debuts with the orchestra in a program comprising drastic juxtapositions.

Five diverse pieces from Central Europe are united by humour and fine perfomances by Jovan Ilias Kadesha as soloist and director of the Manchester Camerata.

Andrés Orozco-Estrada and the Filarmonica della Scalla boldly go into the Romantic repertoire, with mixed results.

Shostakovich, combined with witty Prokofiev, warm and expressive Mozart and atmospheric Mussorgsky from Noseda and the LSO at the Barbican.

Akiko Suwanai's perfect conception of Mozart, and a smiling Brahms Second from the Singapore Symphony and Mario Venzago.

This concert in the ACO's “Celebrating Mozart” season included two symphonies in G minor – by Haydn and Mozart – to bookend the evening. 

Greek violinist Leonidas Kavakos plays – and conducts – the Chamber Orchestra of Europe in works by Mozart, Schoeck and Beethoven.

The Ulster Orchestra present a programme of classical elegance and sunshine; Rustioni is joined by Francesca Dego in an exceptionally sophisticated performance of Mozart’s Violin Concerto no. 3. 

Conductor JoAnn Falletta, violinist Alexi Kenney and the Columbus Symphony Orchestra offer up vibrant and vital interpretations of Boulanger, Mozart and Brahms. 

In Nikolaj Znaider’s return to the LSO, there was a palpable sense of ending. The Mozart violin concertos were played with informal amicability, and Tchaikovsky’s Sixth Symphony was beautifully contained.

Conducting the Chamber Orchestra of Europe and accompanying Isabelle Faust in Mozart's G major concerto, Bernard Haitink stresses classical proportions in two symphonies by Mozart and Schumann.

A Sunday afternoon program at Tanglewood introduced a young virtuoso and emphasized Mahler's Fourth Symphony's classicism.

The Mozart was a immaculately smooth performance teased out with historically-informed ornaments and trills and turns. 

Julian Rachlin visits Royal Northern Sinfonia as soloist and conductor, infusing Sibelius, Mozart and Tchaikovsky with a spirit of dreamy romanticism.

The start of Pinchas Zukerman's Summer Music Festival struggled to find inspiration.

The conductorless  Orpheus Chamber Orchestra and violinist Pinchas Zuckerman, however, presented an evening of music loosely connected across several centuries, effectively pressing shuffle on the classical music jukebox.  

The Leipzig Kapellmeister Riccardo Chailly and his Gewandhausorchester demonstrate style and substance in two tone poems by Richard Strauss, with Christian Tetzlaff as the soloist in Mozart's K216 concerto.

Llŷr Williams, Alexander Janiczek and the Scottish Chamber Orchestra in a triple concerto evening.

There are few concert-going pleasures as rewarding as hearing a great conductor performing music he is clearly passionate about and inspiring those around him to ever greater heights of involvement with the music. This is what the audience at the Auckland Town Hall was treated to with Paul McCreesh and his interpretation of Elgar's Symphony no. 2 in E flat major with the Auckland Philharmonia Orchestra. 

The Royal Concertgebouw Orchestra and Chief Conductor Mariss Jansons fell just short of excellence in the first concert of their residency at the Barbican, with Bruckner's 4th Symphony alongside Mozart's G Major Violin Concerto (with Frank Peter Zimmermann).

The Philharmonia Orchestra delivers electrifiying readings of two very different late Romantic classics, in a thrilling concert, marred only by a pedestrian intepretation of Mozart's Violin Concerto no. 3.

The Camerata Salzburg’s evening of Mozart, Enescu and Vaughan Williams at Berlin’s Konzerthaus was a crisp and bubbling performance that stimulated the intellect as well as the emotions. Beginning the evening with George Enescu’s Two Intermezzi for String Orchestra, the Camerata swept audience members away into a world gone, but too lovely to be forgotten.

Spot the odd one out: a symphony by Haydn, another by Mozart, a violin concerto by Mozart, and Electric Preludes by Brett Dean (2012). The bill of fare offered by the Australian Chamber Orchestra on Sunday cannot be called typical for them, since their programs evade any easy categorisation, but the gesture of mixing old and new is certainly a familiar gambit.

The night had a programme of three soloists, three pieces and three significant composers in music history – Haydn, Mozart and Beethoven. The concept of the concert was to display a span of music from the high Classical era to the early Romantic, where each of the composers overlap in style through three generations.

It was announced shortly before tonight's concert that the advertised conductor, the London Philharmonic's Principal Guest Conductor Yannick Nézet-Séguin, was indisposed. In a programme which included Mahler's enormous Symphony no. 9, it was no small thing for Australian conductor Matthew Coorey to take over at short notice.

A landmark in Trafalgar Square, St Martin-in-the-Fields was London’s first free-lending library, is home to one of the world’s foremost chamber ensembles (The Academy of St Martin in the Fields), and puts on hundreds of classical music concerts each year.