Thomas Søndergård and the RSNO with a beguiling performance of Ravel’s Schéhérazade from Catriona Morison, vivid Peer Gynt from Grieg and a vibrant Rachmaninov’s First Symphony
Joshua Bloom and Paula Murrihy excel in Irish National Opera's staging of Bartók's opera, although director Enda Walsh takes too many liberties with the libretto.
Gianandrea Noseda conducts the Royal Concertgebouw Orchestra, the Netherlands Radio Choir and an ideal team of soloists in a memorable performance of Britten's War Requiem.
I puritani returns to Barcelona’s Liceu with Annilese Miskimmon’s production. Javier Camerena and Pretty Yende lead the inauguration of the season with a fine example of romantic bel canto.
While the Tonhalle’s concert season officially began about a month ago, Paavo Järvi launched his own appointment here with demanding repertoire that met with great enthusiasm.
Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.
The London Philharmonic Orchestra, conducted by Karina Canellakis and with Pierre-Laurent Aimard as soloist, offer a scenic tour to territories once visualised by Sibelius, Dvořák and Bartók.
The Royal Swedish Opera produces a new work based on a 1977 novel by Angela Carter, brought to life by composer Jonas S. Bohlin, librettist Torbjörn Elensky and visual artist Ann-Sofi Sidén.
The new Kapellmeister of the Leipzig Gewandhausorchester leads a passionate rendering of Mahler 5, while Håkan Hardenberger gives a masterclass in trumpet colour.
Projecting [space[ by Meg Stuart / Damaged Goods is a two hour immersion between dance and performance art, a way of finding the Other within us, presented at the Reinbeckhallen for HAU.
An evening of unfailing interest that flagged up the wonders of both David Owen Norris and Lawrence Power in variable performances of classic scores by Vaughan Williams.
Abstract ballet always asks the question of meaning, and Alonzo King Lines Ballet is one of the few companies that answers that question with existential exactness.
Vladimir Jurowski led the LPO in a thoughtful and though-provoking concert that paired Beethoven's only full-length ballet, the joyous and energetic Die Geschöpfe des Prometheus with Stravinsky's cool and melancholy Orpheus.
As City Ballet grapples with lawsuits and lurid accusations, and the loss of an unprecendented number of male principals, new works by Kyle Abraham, Gianna Reisen, and Matthew Neenan stoke inspired performances from the dancers.
Bringing their residency to a close, Anderson and Roe perform Mozart’s concerto for two pianos. Anu Tali makes her RLPO debut with Bernstein, Tubin and Sibelius.
This weekend’s performance of the Symphony no. 2 in C minor had innumerable beautifully detailed moments, with two excellent soloists and an immaculately prepared chorus.
Ilya Gringolts brings his brand of unspectacular virtuosity to the ACO's latest programme, with the Paganini Violin Concerto no. 1 and Bartók's Divertimento clear highlights.
Les Grands Ballets Canadiens has brought a brand new piece to the stage; a neo-classical adaptation of D.H. Lawrence’s controversial novel, Lady Chatterley’s Lover.
The audience for The Met's first performance of La fanciulla del West this season arrived loaded for bear. Not only were they disappointed that Jonas Kaufmann was not singing (he's slated for shows starting 17th October), but their disappointment was heightened by the fact that tenor Yusif Eyvazov was singing.
