Barrie Kosky’s visually stunning and very finely sung Eugene Onegin from Komische Oper reaches Edinburgh, a triumphant showcase for soprano Asmik Grigorian.
Painting pictures in music can often be stimulating. In a programme inspired by the sea and by pictorial art, Elim Chan, Catriona Morison and the BBC NOW reveal the underlying colour.
A new, successful production by Leiser and Caurier supports a great cast of Rossini specialists, with Teresa Iervolino, Paolo Bordogna and Davide Luciano in the lead roles.
A fascinating new companion piece to Elgar's Enigma Variations, from 14 contemporary composers, in celebration of Martyn Brabbins' 60th birthday, performed with enthusiasm by the BBC Scottish Symphony Orchestra.
Calum Robertson’s clarinet, Anna Michels piano and Sally Carr’s soprano capture the charm of contemporary Scottish compositions, and introduce Lori Laitman’s soulful new work.
A dramatic setting in Davos was the backdrop to both a premiere of an compelling work recently commissioned by the Davos Festival and a Schubert masterpiece.
There was vibrancy and subtlety in these cultured performances of Schubert and Lutosławski, with Martha Argerich still showing how it’s done with ‘that’ Tchaikovsky concerto.
Using the misogyny and violence of Rigoletto to hold up a mirror to contemporary corruption, Lindy Hume's production overcomes its inconsistencies with a vivid blend of theatrical and musical values.
There were no unorthodox interpretations in this program, which featured The Cleveland Orchestra’s associate concertmaster Jung-Min Amy Lee in Samuel Barber’s Violin Concerto, just excellent, straightforward music making.
When two internationally acclaimed sopranos, two internationally acclaimed mezzos, a brilliant world-renowned conductor, the Adelaide Symphony Orchestra and the music of Richard Strauss align all the elements of a magnificent, thrilling evening have gelled.
Robert Carsen's riotous production of Rinaldo returns to the Sussex Downs, a schoolboy fantasy colliding crusading knights with St Trinian's bad girls.
Mezzo Joan Busby, bass Brian Bannatyne-Scott with pianist Walter Blair and reader Joshua Manning in a delightful wildlife soirée at the Edinburgh Fringe.
The War of the Romantics – Brahms v Wagner – from the BBC National Orchestra of Wales and Nathalie Stutzmann, followed by an energetically powerful Mozart Requiem with the BBC National Chorus of Wales on fine form.
Showcases of pure virtuosity by Denis Matsuev and the Chicago Symphony Orchestra, under Leonard Slatkin, in performances of both Rachmaninov’s Third Piano Concerto and Rimsky-Korsakov’s Scheherazade at Ravinia.
As he does when his spirit is most honestly invoked, Schumann spoke directly across the ages through Moraguès and Pinto-Ribeiro, and in the process allowed the two musicians to reveal the dimensions of their own love for music.
The Takács Quartet performed quartets by Beethoven and Mozart with insight and energy. Pianist Jeremy Denk joined the ensemble in Dohnányi’s lushly romantic Piano Quintet.
Malcolm Arnold’s overture Peterloo presents the tragic events of the beginnings of the trade union movement. The melodramatic tragedy of Tchaikovsky’s Swan Lake closes the evening, after Juan Pérez Floristán makes his Proms debut.
Francesca Zambello sets the whole opera as a flashback, showing, during the prelude, the heroine surrounded by doctors and nurses in a sanatorium for patients dying from tuberculosis.
Gustavo Dudamel and the LA Philharmonic in a magnificent Mahler’s Second raising the roof to open the 2019 Edinburgh Festival, with soloists Anna Larsson and Miah Persson and Edinburgh Festival Chorus.
Eldar Nebolsin, Corey Cerovsek and Gary Hoffman did not completely answer whether Tchaikovsky's Piano Trio is chamber music that wants to be a ballet score or vice versa, but the intoxicating beauty of their playing banished all doubts of whether the answer mattered.
Andrey Boreyko’s Blossom Music Center program included Beethoven’s “Emperor” concerto with Francesco Piemontesi and a rare but convincing performance of Zemlinsky’s Die Seejungfrau.
Strauss’ Also sprach Zarathustra fills the Royal Albert Hall, while Schumann’s piano concerto is followed by MacMillan’s masterpiece The Confession of Isobel Gowdie.
Katya Apekisheva and friends made a persuasive case for Hummel's Piano Quintet to be heard as a transitional grand romantic concerto deserving of belonging in such august company.
