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Pete Tong's Ibiza Prom was at once accessible and authentic, uncompromising in its commitment to the art of dance, rightly unapologetic and unabashed by its unfamiliar surroundings. Long may we continue.
Frank Castorf's Soviet-era farm-setting does not obtrude on the emotional core of Wagner's Die Walküre, with excellent performances from Johan Botha, Anja Kampe and Claudia Mahnke, with superlative playing from the Festival Orchestra.
What on paper might have looked like a circus act – wheeling out three pianists to plough through Prokofiev’s five piano concertos – turned out to be a fascinating opportunity to compare and contrast.
The first installment of Frank Castorf's controversial Ring is applauded on its 2015 revival at Bayreuth, but arguably the incessant visual action detracts from the appreciation of the music.
Bridging new and old, the young graduates of Teatro alla Scala's Academy joined seasoned Italian opera legends for an "Academy Project" performance of Gioachino Rossini's Il barbiere di Siviglia in Jean-Pierre Ponnelle's 46-year-old staging.
Exquisite Boulez and Francesconi from Mälkki and the BBC Symphony Orchestra, before the conductor pushed the ensemble to its limits in The Planets.
A subtle and understated performance of Nielsen's Wind Quintet, followed by sophisticated and conversational Mozart from Christian Blackshaw and the Royal Northern Sinfonia Winds.
Konwitschny's bold approach to Rihm's musical dialectic surprises, challenges, and bewilders. The glorious soundscape created in the Felsenreitschule makes this Eroberung von Mexico a unique, unmissable operatic experience.
Hans Neuenfels' setting of Lohengrin as scientific experiment with a chorus of rats affords thought-provoking pleasures, with star turns from Klaus Florian Vogt in the title role and Petra Lang as Ortrud.
With the help of a star-studded cast, Barrie Kosky's imaginative staging delivers a production of Handel's Saul which has just about everything going for it: choreography, voices, acting. A must-see.
An evening of fine music-making in Birmingham thanks to the CBSO Youth Orchestra Academy and Michael Seal.
A group of excellent singers and the Orchestra of St Luke's led by Will Crutchfield succeeded in presenting a moving concert performance of Poulenc's gut-wrenching opera.
Mozart himself might have pulled a few weeds from this early opera. Lovely voices and sprightly playing can't overcome an overgrown plot in Santa Fe.
In Opera Holland Park's latest foray into obscure verismo, an excellent orchestral performance and high quality singing fails to translate into a compelling drama.
Bruno Ravella's version of Handel's Agrippina moves the action from Classical Rome to the avaricious Eighties in a sharp, amusing night at Iford.
The children's Barber of Seville is too severely cut to have any substance, but fabulous playing and conducting, stellar young soloists, and an imaginative staging make it a fun afternoon.
Everybody should visit the 1901 Arts Club at least once. Bulgarian-born pianist Tania Stavreva is exactly the sort of performer these venues need: combining genuine quality with a refreshing approach to programming.
Dancing, jokes, a pogrom and Bryn Terfel balancing on milk vats. It could only be Fiddler on the Roof. Grange Park Opera took an eclectic combination and planted if successfully on the Proms stage.
A conceptually diffuse production of Tristan from Katharina Wagner is partially redeemed by stirring orchestral playing under the direction of Christian Thielemann and some fine singing at the opening of the Wagner Festival at Bayreuth.
Better conducting and supertitles would also help breathe life into this drab revival of Bayerische Staatsoper's Don Carlo.
For modern ears, Beethoven’s Choral Fantasy is a curious beast, a hybrid of orchestral, concertante and choral genres and thus quite difficult to programme in a regular concert.
Bard SummerScape made musical history by presenting the first full staging of British composer Ethel Smyth’s opera The Wreckers. Born in 1858 and dying in 1944, Smyth was celebrated in her day (John Singer Sargent painted her portrait in 1901) not only for her compositions, but for being an openly bisexual member of the suffrage movement.
Canadian pianist Marc-Andre Hamelin combined intimacy, heroism and virtuosity in a concert of music by Field, Schubert, Liszt, Chopin and Yehudi Wyner.
Under the direction of Heiner Goebbels, Ensemble Musikfabrik’s twenty-two multifaceted percussionist-vocalist-actor musicians executed an industrious performance of Partch’s magnum opus, The Delusion of the Fury.
Tête-à-Tête's installation of four works is something of a curate's egg, but worth it for James Schouten's exhilarating Rock Tosca and Workshopera's visionary Boys of Paradise.
On the bill for Prom 9, Thursday 23rd July 2015: Beethoven's first and fourth piano concertos, and Stravinsky's Apollon Musagète de Stravinsky. A superb musical adventure which leaves us impatient for its next phase.
From the very beginning, as Faust teased out the twisting opening theme, one could tell this was to be no ordinary Mendelssohn performance.
Matti Salminen and conductor Leif Segerstam come together, probably for the last time, to give us an excellent evening's opera which touched the heart of Boris Godunov – a Finnish swan song as potent as anything penned by Sibelius.
Delius resurrected, Wood introduced, Nielsen explored and thrilling Ravel at the BBC Proms.
The world premiere of Naughty Boy's new track Runnin', featuring the superb Arrow Benjamin, made a high point in an otherwise gawky and under-rehearsed Prom programme from the BBC Asian Network.
The atmospheric surroundings of St Olaf's Castle in Savonlinna host a well acted and well sung Tosca, with opera and chorus on top form as well as three highly credible soloists.
Tête-à-Tête opens with groundbreaking community opera, an interesting piece of Jamaican history, and two superb solo operas from the talented Tim Benjamin, finishing on a high with the glorious Silent Jack.
The gaily poor artists are called to adulthood and responsibility.
The celebratory, cerebral and contradictory elements inherent in this diverse programme of Haydn, Mozart, Poulenc and Stravinsky didn’t quite disguise some uneven performances in Søndergård’s third prom concert.
In an operatic head-to-head, Handel would emerge triumphant for most Baroque buffs, yet Milanese soprano Roberta Invernizzi presented an excellent case for the Red Priest in a dazzling Wigmore Hall recital with La Risonanza.
Andrew Carwood and The Cardinall's Musick bring passion, vitality and grit to Tallis, and première a striking new piece by Cheryl Frances-Hoad in performances of the highest standard.
Framed by passionate performances of Mendelssohn and Brahms, a gorgeous neo-Romantic work by Steven Stucky is unveiled in this installment of the 2015 Summer Festival.
The cast of young professionals seemed entirely at ease in Midsummer Night’s sometimes abstruse musico-mythical world, and made their surroundings work for them.
Kuhmo Chamber Music Festival provides a satisfying selection of musical frauds in the magnificent surroundings of Kuhmo Arts Centre.
From Liszt and Albeniz to Florent Schmitt and Paul Bowles, the Invencia Piano Duo delights with an eclectic and rewarding program of music familiar and rare.
Baritone Jaakko Koretkangas and pianist Nino Gvetadze prove the stars of an evening of great variety ending with a thrilling scene from an obscure Hindemith opera.
Operalia is a curious beast among voice competitions. Step onto the stage, belt out your aria and, before you’ve barely had time to acknowledge the applause, the next contestant shuffles along the conveyor belt. A one-shot saloon.
Traditionally at the Proms, Beethoven’s Ninth Symphony is reserved for the penultimate prom slot in September, but this year, they have made an exception and given it to the CBSO and Andris Nelsons.
In Amsterdam, Joshua Bell led his Academy of St Martin in the Fields on an adventurous, crowd-pleasing journey that demonstrated his ensemble’s versatility.
The BBC's Ten Pieces project culminates in a spectacular Proms event, some of it confusing for adults, but all well-received by the children.
As usual, the performances here were thoroughly committed, but repeated cases of uncertain intonation and rhythmic imprecision prevented them from reaching the heights the audience have experienced in earlier programmes.
An all-Mozart Filarmonica della Scala concert with soloists Vilde Frang and Hanna-Elisabeth Müller under conductor Marc Minkowski's lacked cohesion.
Leif Ove Andsnes and the Mahler Chamber Orchestra perform virtuosic Stravinsky and Beethoven in Bodø on the penultimate leg of The Beethoven Journey.
De Bosio's highly traditional reading of Nabucco takes blockbuster form, aided by Veronese architect Rinaldo Olivieri's sets, which are at once epic and pragmatic.
Attention to clarity and detail without fussiness is a wonderful thing in the presentation of a Rossini comic opera, and Opera Saratoga in upstate New York scored a triumph with their new production of La Cenerentola by assembling a fine all-around team.