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Mozart's Requiem packs in the crowd, but it's Berg's Violin Concerto with Carolin Widmann that really finds the spiritual depth.

Omer Meir Wellber’s Mozart-Ullmann mash-up sounds like a terrible idea, but absolutely hits the mark. 

An over-enthusiastic audience distracts from an excellent performance of Mozart's Requiem Mass by the West Australian Symphony Orchestra and Choir with a first class quartet of soloists.

The Flanders Symphony Orchestra finish their UK tour in Edinburgh with Mozart and Beethoven: safe repertoire, but it's played with focus and energy.

The Borusan Istanbul Philharmonic and Hungarian National Choir give a searing account of Mozart’s Requiem, superbly guided by conductor Carlo Tenan. 

In her final Carnegie Hall appearance as principal guest conductor of the Philadelphia Orchestra, the French conductor leads Schumann’s Fourth Symphony and Mozart’s Requiem. 

The Cincinnati May Festival pairs a deeply-felt Mozart Requiem with a new work for chorus and orchestra by Julia Adolphe.

The Sofia Philharmonic Orchestra and National Philharmonic Choir give us a Requiem replete with fervent passion; Beethoven’s Violin Concerto is elegant but lacks the wow factor.

Amid an uncertain future for the Mostly Mozart Festival, conductor Louis Langrée led a fiery program that overflowed with rage rather than grief.

Václav Luks and his band of Baroque devotees offer a fresh take on late-period Mozart in Prague.

Despite distancing, the members of Collegium Vocale Gent filled the Queen Elisabeth Hall with an impressively cohesive sound, transparent and powerful at the same time. 

Claus Peter Flor directs La Fenice forces with a fine quartet of soloists in the Requiem by Mozart that somewhat unjustifiably carries the composer's name, prefaced by a companion-piece motet.

The War of the Romantics – Brahms v Wagner – from the BBC National Orchestra of Wales and Nathalie Stutzmann, followed by an energetically powerful Mozart Requiem with the BBC National Chorus of Wales on fine form.

Mozart’s early youthful 29th Symphony felt rather misplaced in this otherwise solemn concert from Rafael Payare, Ulster Orchestra and the Belfast Philharmonic Choir. 

A fresh approach to two late Mozart works earned the adulation of a Montreal Symphony Orchestra audience.

The Mostly Mozart Festival ended its season with an all-Mozart program centered on the Requiem. Paired with that was a piano concerto with Stephen Hough and the rarely-heard Meistermusik.

Resident soloist Jorge Federico Osorio continues his Beethoven Piano Concerto cycle with Guest Conductor Roberto Abbado and the Atlanta Symphony.

Two contraltos in one room is a high concentration of contraltos; except that one of them appeared in the role of conductor.

Baroque specialist Patrick Dupré Quigley shows impressive mastery of a large, modern ensemble in a smart performance of a period masterpiece.

At 71, Radu Lupu continues to amaze. No one gets so much out of a piano with such a light touch and minimum of effort. 

John Butt and the Dunedin Consort closed the Oslo Church Music Festival with fine performances of CPE Bach and Mozart, even though the concert didn't prove quite as innovative as advertised.

Reflections on mortality provided by the French contralto Nathalie Stutzmann conducting the London Philharmonic Orchestra and Choir in two works by Richard Strauss and Mozart.

Enoch zu Guttenberg conducts a concert of religious music that traverses a vast host of motley mass-related sentiments – but falls somewhat short of completing the course.

Although Ács Ákos gave an excellent performance of Mozart's Clarinet Concerto, Iván Fischer's innovative Requiem didn't quite work.

NYCOS showcase at The Edinburgh Fringe:  The Armed Man: A Mass for Peace by Karl Jenkins was a moving performance, and a thrillingly muscular take on Mozart’s Requiem let the young voices gloriously soar.

Lars Vogt and Royal Northern Sinfonia end their explorations of Mozart and Sibelius with the composers' final works.

A bird's-eye view of Gustavo Dudamel's opening concert in the LA Phil's Mozart-Pärt cycle.

Initially, it felt a little strange to be celebrating Mozart’s 260th Birthday with a performance of his sombre Requiem, but this turned out to be no ordinary performance of the popular work. 

Positioned at the heart of St Paul’s Cathedral, Rutter took to the stage to perform a sold out concert dedicated to his life as a composer. 

Houston Symphony's Andrés Orozco-Estrada brings remarkable intention to Mozart's sacred masterpiece. 

I Musici di Montréal join forces with the Studio de musique ancienne de Montréal to present Mozart's Requiem in Robert Levin's revised arrangement of the unfinished masterpiece.

A fine new edition of Mozart's Requiem recieves its UK première, overshadowed by a trenchant Sibelius Fourth from Opera North under Jac van Steen.

A blazing performance by violinist Patricia Kopatchinskaja and a mildly disappointing Mozart Requiem round off New York’s annual Mostly Mozart Festival

Prom 23 contained a mixed programme of McLeod, Beethoven and Mozart. Whilst each piece was enjoyable in its own right, and some truly outstanding musicianship was evident throughout the evening, the lack of connection between the pieces left a feeling of unsettledness.

Innovative programming from Manfred Honeck mingles readings, music, and chant in memory of Mozart.

Pieter Jan Leusink and the Bach Choir and Orchestra of the Netherlands give an exuberant and warm-hearted perofrmance of Mozart's Coronation Mass and Requiem.

With the brilliant chamber choir Accentus and the recently formed period orchestra Insula behind her, Laurence Equilbey knows how to immediately captivate and move the modern listener.

Since reading Stravinsky’s assertion (in Poetics of Music) that “The more constraint one imposes, the more one frees oneself from the chains that shackle the spirit”, this paradox has fascinated me.

Wolfgang Amadeus Mozart’s Requiem is one the most performed of his works, famously unfinished at the time of his death, but completed at the demand of his widow (money was, as ever, in desperately short supply) by his pupil Franz Xaver Süβmayr.

While this concert’s marketing was focused on Mozart’s Requiem, it was Haydn in the first half that made the greater impact, in the form of an ecstatically virtuosic performance of his Cello Concerto no. 1 with soloist Alban Gerhardt. Passagework was everywhere immaculately tuned and played with perfect dexterity, Gerhardt’s fingers dancing up and down the instrument with tremendous velocity.

A piece of music written by a dying composer, left unfinished and completed by a dedicated friend from the chaotic fragments left behind. This is not just the story of Mozart’s Requiem, so familiar to many from Peter Schaeffer’s colourful retelling in Amadeus, but also of Bartók’s Viola concerto, which was imaginatively paired with the more well-known Requiem by Northern Sinfonia this evening.

An element of conflict inhabits the combination of an evening out and a requiem mass. This thought ran through my mind as I approached Edinburgh's Usher Hall, the sunny foreground of which was populated by happy-looking concert-goers greeting friends.

Mozart’s Requiem – Piety, mythical murder, and mystery. Completed at the time of Mozart’s death and popularized by the 1984 movie Amadeus, this piece has since become the curiosity piece of audiences seeking the signature sensationalism of today’s state-of-the-arts media.

A strong believer in music speaking for itself, I have always been quite skeptical about pre-concert presentations. In my opinion, play the music and let the audience enjoy it.On Sunday afternoon I was less than excited to hear that Mozart’s Requiem presented by Washington Performing Arts Society would be previewed in a 45-minute presentation by NPR music commentator Rob Kapilow.

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.