Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Cello Concerto no. 2 in G major, Op.126

Alpesh Chauhan conducts the BBC Philharmonic in a striking programme of 20th- and 21st-century works including the UK premiere of Anna Clyne's The Moment. 

Truls Mørk joins Tarmo Peltokoski and the Rotterdam Phil for a deeply emotional reading of Shostakovich’s Cello Concerto no. 2. 

Rachmaninov’s First Symphony is brought vividly to life in a new performing edition by John Wilson and the Sinfonia of London in an electrifying concert at The Glasshouse.  

The Lyon orchestra show their rapport with their former Music Director with an exuberant Copland symphony and an introspective Shostakovich concerto

Celebrating its centenary the orchestra and its chief conductor proposed a programme consisting of works (mostly) composed in the last 100 years.

Sheku Kanneh-Mason shows emotional depth in Shostakovich's Second Cello Concerto, while the lightness of the RSNO Junior Chorus creates a heavenward-bound Fauré Requiem. 

The OSM's Music Director-designate emphasises the Brahmsian aspects of Dvořák's splendid Seventh Symphony. 

Alisa Weilerstein delivered an amazingly raw performance of Shostakovich’s Second Cello Concerto, whereas Ilan Volkov and the CBSO’s renditions of Simon Holt and Brahms (reimagined by Schoenberg) proved alienating and overblown.

A pair of Soviet Cold War classics featured in Pietari Inkinen's Budapest debut at Müpa. 

Impressively, Principal Conductor Nézet-Séguin matched his predecessor, Valery Gergiev, with such high quality Russian repertoire. 

Alisa Weilerstein and the BBC Scottish Symphony Orchestra under Rafael Payare rendered a thrilling performance of Shostakovich’s Second Cello Concerto in Leeds.

Sir Mark Elder conducted the Hallé in Shostakovich's Cello Concerto no. 2, with soloist Alisa Weilerstein, and Mahler's Fifth Symphony. 

The Sydney Symphony Orchestra presented a versatile and truly international menu to its audience last week in a thrice-programmed concert titled “Heavenly Schubert” although it was Shostakovich who proved the strongest draw. 

Britten’s Death in Venice suite, arranged by Steuart Bedford, is a continuous piece of music taken from the opera. As such, it is an extremely scenic work and even though it has its moments, I could not help but long for the actual opera rather than these excerpts (thankfully it will be performed by ENO later this year).

In an era in which orchestras are supposed to have lost their distinctive 20th-century sounds, the Gewandhaus Orchestra Leipzig is one that retains its characteristic dark hue, with fascinating wind timbres that simply refuse to blend into a homogenised whole. And yet there is refinement and virtuosity to match the world’s best orchestras.

Arguably the highest-profile visiting orchestra of the season, Riccardo Chailly brought his Leipzig orchestra to Birmingham for a duo of 20th-century Russian works. The large audience was not disappointed, Rachmaninov’s second symphony in particular shining in a magnificent performance.

Tonight’s concert at the Concertgebouw started with the Romance from Shostakovich’s film score The Gadfly, as a tribute to the conductor Yakov Kreizberg, who sadly passed away last March. A popular piece with violinists, the Romance is a beautifully melodic work, perhaps one of Shostakovich’s most popular ones.