A questionable performance of Schumann's Violin Concerto was redeemed by lively interpretations of Beethoven's Third Symphony and Tchaikovsky's 1812 Overture.
Issues that cropped up in the first run of Mitchell's production have been ironed out. In the hands of a strong cast, a chilling interpretation of Donizetti's masterpiece.
Like Sibelius, Florent Schmitt was another composer of great longevity. This concert saw an opportunity to hear his Symphony No. 2 paired with Sibelius' Symphony No. 3, with two piano pieces by Ravel and Franck in the middle.
Bernard Haitink always provides intelligent symphonic readings and in his interpretation of Brahms' Third, he brought a lifetime of experience to the piece.
The latest revival of Jonathan Miller's The Barber of Seville has everything you could want; strong direction, a strong orchestral performance, and a cast that's universally strong. No close shaves there!
In its opening concert of the season, the Philharmonia gave two of Sibelius' symphonies with two modern pieces by a pair of Iceland's finest young composers, which made for rewarding listening.
Ian Page's new ensemble kicked off with a feisty performance of Mozart's Symphony No. 29 and Sinfonia Concertante for Violin, Viola and Orchestra with two splendid arias sung by Louise Alder.
In an all-Mendelssohn programme, Pablo Heras-Casado led the orchestra in detailed and original interpretations, with a strong performance from soloist Isabelle Faust.
This was the first visit of Cincinnati Symphony Orchestra to the Proms and in their native repetoire of Bernstein and Copland they had substantial success.
Mirga's approach to Beethoven's Fifth showed a flair for innovation, the highlight of a strong programme that also featured a virtuosic performance from Leila Josefowciz of Stravinsky's Violin Concerto.
Juanjo Mena and the BBC Philharmonic juxtaposed Simpson's oratorio, The Immortal, inspired by mediums and seances, with Tchaikovsky's Sixth Symphony where life slips away into the void.
Dorset Opera's second opera of their season saw a fiendishly good performance from Mark S Doss as Méphistophélès supported by a strong cast in Christopher Cowell's economical production.
David McVicar's production may divide audiences with its no holds barred approach to the debauchery of the court of Mantua, but is well worth seeing for the Gilda of Tuuli Takala.
The Savonlinna Opera Festival took a break from the stage and brought in the YL Male Voice Choir and the Tapiola Choir for a concert of Finnish choral music.
The Castle in the Water, Sallinen's new “chronicle”, is a new work of innovative beauty. Tragic, comic and epic, in seventy-five minutes it tells the history of Olavinlinna and gives a snap-shot of those connected to it.
The opening production of the 2017 Savonlinna Opera Festival had an optimistic message, strongly delivered by a cast led by the exceptional Konstanze of Hulkar Sabirova.
