A superb performance from Chloë Hanslip in the world premiere of Berkeley's Violin Concerto, with the BBC National Orchestra of Wales under Jac van Steen polished but lacking bite in Dukas and Prokofiev.
Verdi's most political opera feels particularly relevant in 2016, and the Opera Australia production convinces, thanks to the outstanding George Petean in the title role and an excellent supporting cast.
Playing repeatedly in my mind as I walked home on 24 July was the spine-chilling orchestral performance of the "Dance of the Knights" from Prokofiev’s Romeo and Juliet in the Franz Liszt Academy’s superb Solti Hall.
Democracy and collectivism were hard at work as Jurowski’s decidedly undictatorial style fostered a strong on-stage community amongst the London Philharmonic Orchestra and Choir, who ultimately conjured Elysium itself.
James Levine returned to Ravinia to conduct the Chicago Symphony for the first time since stepping down as music director in 1993 in a monumental performance of Mahler’s Second Symphony – the same piece with which he debuted in 1971.
Who needs a pumpkin carriage ride to transport you to the ball when you could surf celestial webs instead? Certainly not Prokofiev's Cinderella, if Alexei Ratmansky’s 2013 Australian Ballet production is anything to go by.
These two Manchester-based choirs formed a formidable partnership for one of the most gruelling choral works in the repertoire. The four soloists, however distinguished as individuals, produced mixed results.