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Schubert and Saint-Saëns provide an elegant first half before a change of tone and pace with Bruckner's Sixth Symphony. 

Pull out all the stops and blow through all the pipes: the mighty organ is there to be celebrated! Olivier Latry demonstrates his mastery of the art.

The Italian pianist shed a very personal light on the threads and knots of the musical history tapestry.

The Orchestra of the Age of Enlightenment dip into the late Romantic period to make the case for more Saint-Saëns in this rip-roaring concert under Russian conductor Maxim Emelyanychev.

Hong Kong Sinfonietta's Cellomania program showcased the young Turkish cellist's towering talent with a potpourri of show-stoppers.

The French cellist stays sharp with longtime chamber partner Jérôme Ducros and proudly introduces the first laureate of his new foundation.

In this performance of Shostakovich's final symphony, the ‘Fate’ motif from Wagner’s Ring suggested the LSO brass had been moonlighting in Bayreuth.

Unlike many of his peers at the concert grand, Grosvenor kept histrionics to a minimum as he plays a well-programmed London recital. 

Thomas Søndergård's Scheherezade is overactive, but their concerto soloist is one of the family

Visiting Russian players offer sophisticated Brahms and sensitive Elgar in Istanbul.

István Várdai delivers a knockout punch in Saint-Saëns' Cello Concerto no. 1 at the Franz Liszt Music Academy. 

Guy Johnston and friends in a varied programme of works and arrangements for 12 cellos, joined by soprano Golda Schultz in tender and spirited Villa-Lobos.

Affable host Richard Gere united a starry musical cast to celebrate Carnegie Hall’s 125th Anniversary Gala.

La Orquesta Sinfónica del Principado de Asturias bajo la dirección de Ari Rasilainen se presentó en La Coruña con la infrecuente Suite Lemminkäinen y acompañó al chelista Narek Hakhnazaryan en una abrumadora versión del concierto de Saint-Saëns.

Les mélomanes de Québec ont eu droit à la crème de la crème avec deux des plus grands musiciens de notre temps, dans un programme livré avec fougue et un contrôle instrumental absolu.

Barenboim machte deutlich, dass nicht er selbst im Zentrum stand, sondern das Orchester, das Konzept des „Divan“, das gemeinsame Erleben der Jugendlichen, die einen sehr eindrücklichen, bewegenden Konzertabend gestaltet hatten.