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After a lacklustre trio of concerts traversing the seven symphonies, Sibelius’ 150th anniversary Proms celebrations peaked with a gripping encounter with Kullervo.
Bruno Ravella’s revival of David McVicar’s production of Faust, doing the rounds of Australia’s major opera companies, is currently inspiring Adelaidians with masterful performances by State Opera of South Australia.
The Komische Oper production of Die Zauberflöte is a modern classic: absolute magic conjured by Barrie Kosky and the team from 1927 theatre.
Tilson Thomas and the San Francisco Symphony electrify Edinburgh with Mahler 1.
For their first and last ever visit to the Proms, the SWR Symphony Orchestra Baden-Baden and Freiburg and François-Xavier Roth gave a thrilling concert of 20th-century masterpieces, celebrating a rich history of creative inspiration.
A double bill from Sir Peter Maxwell Davies and Tarik O'Regan gives us two unsettling portraits of women whose lives have been indelibly touched by the eternal: an unamed Victorian medium, and the Virgin Mary.
A Madama Butterfly from beyond the grave? What would Julia Burbach's concept add to the familiar thread of Puccini's opera?
The BBC Symphony Orchestra was on great form in an exciting evening comprising a concerto and three symphonic works.
Fervent flag-waving is usually reserved for the Last Night of the Proms, so what was going on in this Philharmonia concert? The Arena was awash with a sea of red flags, the chorus – and conductor Esa-Pekka Salonen – were decked out in T-shirts bearing portraits of Lenin or Stalin.
Darkness and light were the main focus of Jeremy Denk's debut at the Chamber Proms in a programme which opened with Scriabin’s demonic “Black Mass” piano sonata and closed with Beethoven’s otherworldly Op.111.
Only a piano and violin accompany this well-sung pocket Madame Butterfly from Opera Bohemia at the Edinburgh Fringe, which works surprisingly well.
Artistic decisions may have been off the mark, but this young orchestra has an arresting predilection for the lush.
The Lucerne Festival recently celebrated the life and musical achievement of the great French composer and conductor Pierre Boulez on the occasion of his 90th birthday.
A richly varied programme of Haydn, Barber and Shostakovich that mostly played to the strengths of the Boston Symphony Orchestra.
French organist Thierry Escaich offered a fascinating musical journey with a programme which juxtaposed the organ music of J S Bach with responses to it by Mendelssohn and Brahms, as well his own improvisations on themes by Bach.
The orchestra's principal cellist Mark Kosower gave a performance of Haydn's Concerto in C notable for its transparency and grace at this late summer Blossom Festival concert.
The devil was in the details for the Boston Symphony Orchestra's first Prom this year; even mastering the Albert Hall's acoustic, some unfortunate errors let the side down.
François de Carpentries’ Oslo production of The Barber of Seville is back for its fourth revival. The singing ranges from the uninteresting to the outright excellent, but the production can still provide a thoroughly entertaining evening at the opera.
The Late Night Bach Prom series really seems to have caught the imagination of the public this year. For Sir András Schiff’s Goldberg Variations, the Royal Albert Hall was really full.
In the absence of a visiting Mariinsky or Bolshoi company during the summer hiatus, London's balletomanes could get their classical ballet fix via the St Petersburg Ballet Theatre in performances of Swan Lake and La Bayadère.
Stimulating sounds from the Academy of Ancient Music in late night Bach at the Proms.
Ahead of its late-summer tour, the Royal Concertgebouw Orchestra warms up with two programmes in what are considered high points of the Robeco Summer Nights.
Gilles Jobin’s Quantum (2013) is a choreographic introduction to the mysterious beauties and oddities, generally beyond general comprehension, of the particles world researched at the large hadron collider in Geneva.
Often, an enthusiastic response to a performance is nothing remarkable. Here, it certainly was.
Beethoven may have been the main catch of the day for some but Sibelius, Leifs and Hillborg will have netted many new admirers thanks to Sakari Oramo.
Seth MacFarlane showed his many talents in an evening celebrating the Great American Songbook.
On a world première, a company première and the return of Liang's Opus 25 in a mixed bill by Singapore Dance Theatre.
Haydn’s late, lofty achievement has the august quality of a masterwork, coupled with cheerfulness befitting a summer series that ends in the month of August.
“Denmark is not all Lego and pastries!” quipped Nikolaj Znaider to the Albert Hall audience. Indeed not. It is the land of Carl Nielsen, whose 150th birthday was celebrated in a packed Prom given by the Danish National Symphony Orchestra.
Ivo Pogorelić’s return to Warsaw thirty-five years after his triumphant failure in the 1980 International Chopin Piano Competition should have been an occasion for great expectations. Sadly it was more like Hard Times.
A disappointingly po-faced and directorally hidebound production almost takes the shine off a superb Daphne starring Justine Viani, with an exciting Peneios from Welsh bass James Gower.
The New English Ballet Theatre is joined by Royal Ballet guests in a special performance to raise funds for survivors of the Nepal earthquakes.
German baritone Matthias Goerne recently gave a stunning performance of Gustav Mahelr's Des Knaben Wunderhorn songs in Lucerne.
In celebration of her company 25th anniversary, the multi-faced and multi-awarded Marie Chouinard presents two of her most recent works: “Soft Virtuosity, still humid, on the edge” and “HENRI MICHAUX: MOVEMENTS”.
This is a well-oiled operatic machine, with all of the cogs whirring. Act I's garret crackles and pops in a slick stream of gags both familiar and new.
An eclectic mix of Debussy, Mozart with the doyenne of the Russian school Elisabeth Leonskaja and the riddle that remains Shostakovich's final symphonic statement.
Richard Tognetti and Christopher Moore exhibit excellent partnership in Mozart's Sinfonia Concertante, while a performance of Brahms' Third Symphony by the expanded forces of the Australian Chamber Orchestra provides much excitement and colour, but little sense of architectonic coherence.
“Let me play the lion too.” I hadn’t associated Daniel Barenboim with Nick Bottom from A Midsummer Night’s Dream before, but during Beethoven’s Triple Concerto, I half expected him to leap from his piano stool and play the violin and cello parts too.
There was a nod to John Adams in the score, but also a kind of edgy Americana, complete with powerful writing for male chorus, and an attempt to communicate the flavor of rural North Carolina, not far from where Higdon grew up.
For the third and final leg of the Proms Sibelius symphony marathon, the baton was passed to Osmo Vänskä, with a change of orchestra from the BBC Scottish to the BBC Symphony.
Although nominally a Polish Festival celebrating the music of Frédéric Chopin, there was lots of Tchaikovsky on offer at this year’s event. Leading the foreign charge was the Russian National Orchestra under the direction of their mercurial maestro Mikhail Pletnev.
The concert, which was part of Mostly Mozart’s “A Little Night Music” series of late-night events, was comprised of six preludes, six canons, and George Benjamin’s 2001 composition Shadowlines, six canonic preludes for the piano that were written for Aimard.
The BBC Scottish Symphony Orchestra tackle two elusive Sibelius symphonies and a new work by Michael Finnissy in a packed programme at the Proms.
The BBC Concert Orchestra and Barry Wordsworth were joined by Stile Antico, Jack Liebeck and Christine Rice in an exploration of the musical mind of fictional detective Sherlock Holmes.
On his current Australian tour, the indefatigable Pinchas Zukerman seems to cherish playing a different programme in every venue. He appeared with his own chamber ensemble, the Zukerman Trio in Sydney, partnered with two Canadian musicians, Amanda Forsyth (cello), and Angela Cheng (piano).
A double geriatric sex scene, and real-life bunny boiling, are crude gimmicks which fail to rescue a flaccid, complacent 40 minutes courtesy of Ergo Phizmiz.
In James Conlon's final performance as music director of Ravinia, he presented a magnificent Flying Dutchman with a stellar cast.
Jeanette Sorrell and her Cleveland Baroque band Apollo’s Fire are renowned for their inventive programming and “A Night at Bach’s Coffeehouse”, with guest soloist Alina Ibragimova, deftly offered a balanced musical diet.
The BBC Scottish Symphony Orchestra and Thomas Dausgaard open a cycle of symphonies by one of this year's birthday boys at the Proms, Jean Sibelius, prefaced by a signature work.
The Scottish première of Will Todd's Mass in Blue was a joyous coming of age concert for the Cadenza choir at the Edinburgh Fringe.