After an enjoyable but safe Rachmaninov Piano Concerto no. 2, Altinoglu celebrates his birthday by rendering each of Pictures at an Exhibition in extravagant orchestral Technicolor.
Yuri Simonov showcases his musicians in ballet scores by Tchaikovsky and Khachaturian, while Alexandra Dăriescu embraces the Romantic spirit in Rachmaninov.
Countertenor Lawrence Zazzo is more than at home in the role of Oberon, and possesses a vocal quality ideal for the scheming king of the fairies, simultaneously eerie and seductive.
An auspiciously successful concert for the LPO and their new Principal Conductor Designate Edward Gardner, crowned by an exceptional performance of the Nielsen.
Judging by the enthusiastic audience reactions to this program one might have to rethink the modern/ballet divide. Maybe there’s only two types of dance – good dance and bad dance.
After 76 performances in 17 theatres and seven different productions, Quartett returns to La Scala in the original sgating by Àlex Ollé of La Fura dels Baus and the Milan audience is once more captivated.
The Staatsoper Unter den Linden presents Avery Sharon’s shocking production of Mozart’s masterpiece, full of references to pop culture, side by side with the traditional one by Everding in the same season. A solid cast does justice to his fun, entertaining, bold production.
RSNO Season opens in Dundee on Vienna’s Golden Age, Søndergård conducting a boisterous Don Juan, Karen Cargill singing Berg Seven Early Songs and a sparkling Mahler Symphony no 1.
A good audience turnout for the opening of Noseda's third NSO season justifies an all-20th-century program centering on Carl Orff's popular and direct setting of medieval poems about real life and fate, but also presenting gentler works of religious reflection.
William Alwyn's operatic take on Strindberg is rarely performed – a complete mystery considering this excellent concert staging at the Barbican by the BBCSO under Sakari Oramo.
Richard Tognetti’s absorbing programme mixed Bach’s Goldberg Variations with Stravinsky and Adès, played impressively and with characteristic exuberance and finesse by the Australian Chamber Orchestra.
Three Montreal luminaries of symphonic music, Yannick Nézet-Séguin, Marina Thibeault and Violet Archer, contributed to a delightful afternoon concert entitled Berlioz in Italy.
In 1724, Handel's Giulio Cesare was a vehicle for star singers Senesino and Francesca Cuzzoni. Maria Sanner and Lucie Chartin step into their shoes with great success for this Opera North revival.
Jonas Kaufmann and Anja Harteros, the “Royal couple” of the Bayerische Staatsoper, enchant and melt hearts as the doomed lovers in Verdi’s late masterpiece.
The new production of Les Indes galantes at Opéra Bastille is exceptional, from the vocal cast to the choreography by Bintou Dembélé. But the stand-out performance of the evening comes from conductor Leonardo Garcia Alarcón.
Nicholas Collon decides that Mendelssohn is really a very revolutionary composer, while Amy Dickson's saxophone and Ronald Brautigam in Mozart provide vibrant contrasts.
