Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Piano Concerto no. 23 in A major, K488

Melbourne-born soprano Sioghan Stagg returns for a one night stand with Kristian Bezuidenhout and the Freiburg Baroque Orchestra as part of their Australian tour.

The Academy of St Martin in the Fields give exciting performances at the Barbican, with idiosyncratic Mozart from Buniatishvili. 

The pianist enchants the audience with Mozart's Piano Concerto no. 20 in D minor, conducted by Leonidas Kavakos. 

Three concertos and a symphony made for an unusual but generous programme, but Les Siècles illustrate that versatility can come with mixed blessings. 

Angela Hewitt gives magical Mozart with Andrew Davis and the BBC Philharmonic and four twentieth century masterpieces looking back to the past complete a rewarding and unusual programme

Sir Simon Rattle's “Stravinsky Journey” threads a string of miniatures to persuade the audience that there's more to Stravinsky than his three early Ballets Russes hits. 

Fazıl Say's Mozart is an acquired taste, but Paavo Järvi's Bruckner is a masterclass in how to conduct this composer. 

Sensitive, nuanced Bruckner from Blomstedt and a Mozartian treat from Maria João Pires.

If Purcell’s genius was muted, it was not missing in the Mahler Chamber Orchestra's appearance at London's Southbank.

The Manchester Camerata continue their cycle of Mozart piano concertos with Gábor Takács-Nagy and Jean-Efflam Bavouzet

Slick editing and filming of an exhilarating and uplifting performance conducted by Hamish McKeich in Wellington. 

As Singapore emerges from Covid circuit breaker, witty and ebullient Mozart is served by Hans Graf and Albert Tiu.

Steven Osborne and players from Aurora Orchestra take our emotions in opposite directions at Kings Place.

The Bavarian Radio Symphony Orchestra triumphs under inspiring conducting in Vienna.

The Shanghai Symphony Orchestra bring an entertaining programme of Mozart and Rachmaninov to the Proms, followed by an unexpected “Gift from China to the UK”.

Søndergård’s all-consuming Mahler dwarfs some delightful Mozart in Edinburgh

Herreweghe’s lifelong artistry of concentration, clarity and intimacy was nowhere better demonstrated than in an exalted account of Mozart's last symphony. 

A well crafted, elegant Mozart Piano Concerto no. 23 in the first half counters the passions and tragedy of Mahler’s Symphony no. 6 in the second. 

MTT delivered a Bruckner Seventh equal parts lyricism and dramatic power, while guest soloist Khatia Buniatishvili beguiled with her graceful Mozart. 

Shining brass highlighted an honest Bruckner Eight which was preceded by Mozart’s Piano Concerto in A major played by Robert Levin.

Egarr, Bezuidenhout and the MSO are the perfect match in this celebration of Mozart's wit and genius, delivering historically grounded and exhilarating interpretations of treasured favourites.

Paired with the Britten’s early Sinfonia da Requiem, Beethoven’s “Fateful Fifth” sounded unexpectedly fresh. 

It’s a rare treat to experience a performance given by two musicians at the height of their craft, especially when the performers in question are Cecilia Bartoli and Daniel Barenboim.

The Saint Paul Chamber Orchestra delivers a thrilling account of Schubert's Second Symphony, while pianist Jeremy Denk inspires in Mozart and chamber works by Schumann and Kurtág.  

A rare visit to London by the Bruckner Orchester Linz, with their Music Director Dennis Russell Davies, saw them bring Bruckner's Sixth to Cadogan Hall. 

As musicians, conductor Bernard Haitink and pianist Maria João Pires have certain qualities in common – they both display a serenity, exquisite control and a dedicated yet no-nonsense attitude to performance.

Disappointing Mozart compensated by a lively new work by Fazil Say in Heidelberg. 

63 concerts in just four days: a full programme kicked off the “Bogotá is Mozart” festival in style. 

Ravel and Dove complement each other, but Mozart sits oddly out of place in the BBC Symphony Orchestra's latest Prom. 

Fabio Luisi and the LSO, vindicate magnificently Bruckner's first thoughts for his Eighth Symphony, and with Lise de la Salle create a splendidly multi-dimensional Mozart.

Sir Mark Elder conducted the Hallé in the final concert of their 2012/13 Thursday Series, with a truly titanic account of Mahler’s First Symphony at the Bridgewater Hall in Manchester.The evening began with the première of Near Midnight, the first commission for Helen Grime in her role as Associate Composer of the Hallé.

“Synesthesia” is a neurological condition that causes an involuntary sensory experience to be provoked from an initial stimulation of a different sensory or cognitive pathway – for instance, automatically associating colors with numbers, letters, or sounds. Olivier Messiaen, a 20th-century French composer, organist, and ornithologist, “heard” colors in all music, whether tonal, modal, or serial.

This creative SCO programme offered two works in either half, performed in reverse chronological order. Virtuoso violinist Alexander Janiczek directed the first of each pair, beginning with Schubert’s 1817 Overture in D major “In the Italian Style”, D.590.

“Cinderella” and “ballet” might ordinarily suggest glockenspiel-topped delicacy; not in Prokofiev’s case. His ballet Cinderella, and the selection from it chosen by the RSNO, contains great variety. The Introduction’s darkness hints at the exploitation and neglect which are to be vanquished by love and happiness.

The brass, winds and percussion of the LSO opened the concert with a powerful, dramatic rendition of Purcell’s Music for the funeral of Queen Mary, arranged to sharpen the effect for modern ears by Steven Stucky.

Extraordinary things happen in St Barnabas Church, Ealing. On a couple of occasions, 32 pianists have played 32 Beethoven piano sonatas over one weekend, and every so often the building is host to Ealing Symphony Orchestra, who dare to embark on programmes that feature works you just will not hear anyone else perform – first public performances of Ives’ Orchestral Set no.

I went to the concert with the Hong Kong Philharmonic Orchestra on Friday with some pre-conceived ideas about how they should play the two works on the programme, and came away satisfied that the performance more than met expectations.Having heard Mozart's Piano Concerto no.

The Orchestra of the Age of Enlightenment (OAE) is nothing if not innovative: there’s The Night Shift, a late-night concert series, and Purcell in a Pub, and now there’s The Works, a fun and informal way to learn more about a classical masterpiece in which the work is deconstructed and analysed before a full performance.In this, the first of the series, Mozart’s Piano Concerto No.