Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Till Eulenspiegels lustige Streiche (Till Eulenspiegel's Merry Pranks), Op.28

Till Eulenspiegel and Ein Heldenleben frame Lisa Batiashvili playing Mozart's "Turkish" concerto. 

John Storgårds conducts the BBC Philharmonic in two colourful works for large orchestra, while Håkan Hardenberger demonstrates the versatility of the trumpet in two works, one familiar, the other not.

A dynamic and forceful performance of Shostakovich's Violin Concerto no. 2 is the highlight in a concert that also features an elegant little Sibelius opening and two of Strauss' tone poems.

Levit offers impeccable Beethoven, while Pappano enchants the Rome audience with Cherubini and Sibelius. 

Hans Graf and the Singapore Symphony Orchestra's evening of Richard Strauss showcases the German Romantic's enormous emotional range.

After a long absence, the Cleveland Orchestra returns to the Golden City in style in a trio of Strauss works under Franz Welser-Möst.

Zubin Mehta conducts a trio of Strauss tone poems as the Australian World Orchestra arrives back in Sydney. 

The world premiere of Sebastian Currier’s Aether for violin and orchestra shifts attention from Till Eulenspiegel's earthy antics to the cosmic.

A last-minute cancellation resulted in a blazing performance of Tchaikovsky from LSO leader Roman Simović, paired with Strauss' orchestral masterworks.

Dorothea Röschmann has a soaring silvery line when needed (she is a famous Marschallin).

Conductor Donald Runnicles and pianist Pierre-Laurent Aimard deliver a highly expressive performance with pieces by Elgar, Mozart and Strauss. 

The Gran Teatre del Liceu’s orchestra performs challenging works by Strauss under resident conductor Josep Pons.

Diana Damrau performs Mozart and Strauss at the Grafenegg Festival, located about an hour’s drive from Vienna.

Conductor Riccardo Chailly launched this year's Lucerne Festival with a riveting programme of three late 19th century works by the great orchestral explorer, Richard Strauss.

Evgeni Bozhanov marks his Liverpool début with the RLPO under the watchful eye of conductor Marzena Diakun. 

Captiavting European musical narratives in Washington DC.

A polished and deeply moving Beethoven Violin Concerto from Nikolaj Znaider was complemented by exquisite and vibrant performances of Max Reger and Richard Strauss from the Staatskapelle Dresden.

Britannia rules the waves on the LSO’s tour of Eastern Europe. 

The Atlanta Symphony, under Robert Spano, share the spotlight with two of its most prominent musicians: David Coucheron and Michael Kurth. 

A potpourri of styles and chronology portrayed effectively by Edo de Waart, Augustin Hadelich, and the Chicago Symphony Orchestra

In this last concert in the Leipzig Gewandhaus and Riccardo Chailly’s brief residency at the Barbican, all concerned were on top form. 

Flags, balloons and musical revelry bring the BBC Proms season to a close. 

The concert also featured the world premiere of Matthias Pintscher's idyll and a Strauss favorite, Till Eulenspiegel’s Merry Pranks.

Fine renditions of Brahms's Haydn Variations and Strauss's Death and Transfiguration and Till Eulenspiegel more than compensate for an underwhelming rendition of Rihm's Lichtes Spiel in the Concertgebouw's performance at the Berlin Festival.

Leonidas Kavakos's technical mastery and musical sensitivity work beautifully with the Royal Concertgebouw Orchestra to produce shimmering brilliance.

The Oslo Chamber Music Festival present a mixed bag of new music and chamber arrangements of Strauss tone poems.

After 19 years, David Zinman took his leave from the post of music director of the Tonhalle-Orchester Zürich yesterday with an affectionate Proms programme of Strauss, Dvořák and Beethoven. 

Despite Richard Strauss' few connections with Leipzig, the Gewandhaus Orchestra under Riccardo Chailly offered a vivdly characterized tribute to the composer on his 150th anniversary, from an affectionate Don Quixote to a witty - and furiously paced - Till Eulenspiegel. 

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.

Ferdinand David, the concertmaster of the Leipzig Gewandhaus Orchestra when Mendelssohn was conductor, must have been quite a virtuoso for the composer to have written his Violin Concerto in E minor for him.

Tchaikovsky’s early symphonies are getting a fair bit of exposure at present, both in the concert hall and on disc, thanks to several complete symphony cycles being undertaken in the UK by the London Symphony Orchestra, London Philharmonic Orchestra, Bournemouth Symphony Orchestra and, here in Birmingham, by the City of Birmingham Symphony Orchestra.

Established in 1987 by Leonard Bernstein, the Schleswig-Holstein Festival Orchestra last year joined the exclusive club of youth orchestras to have performed at the Salzburg Festival and was immediately invited back for a return appearance this season.

In this, the last of his farewell programmes, Stéphane Denève bade au revoir to Edinburgh in front of an audience of the great and the good, containing ambassadors, diplomats and ministers as well as all his Edinburgh fans. There were speeches, presentations and more than a touch of the Hollywood Academy Awards Ceremony. “But what about the music?” I hear you ask.

Following their acclaimed 'Bartók: Infernal Dance' series, the Philharmonia moved on Thursday to another of the twentieth century’s great composers: Richard Strauss. Strauss’s youthful tone poems, Don Juan and Till Eulenspiegels lustige Streiche were contrasted with his gloriously autumnal Four Last Songs, with Mozart’s 25th Symphony serving as a rather unexpected companion.

Lorin Maazel, a former director of the New York Philharmonic, brought his exacting music-making back to the podium for a nine-day guest appearance. A wizard of baton technique – even the back of his head communicates what he wants the orchestra to do – his performances leave little room for spontaneity and generally contain odd interpretive choices. Today was no exception.

On paper, Strauss’ Till Eulenspiegels lustige Streiche seems a non sequitur to choral and orchestral works by Elgar and Grainger. In Proms 24, Elgar’s part-song There is sweet music and Violin Concerto in B minor were at home next to Grainger’s setting of Londonderry Air and likeable In a Nutshell suite.