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Alexandra Dariescu makes a compelling Proms debut in Nadia Boulanger's unjustly neglected Fantaisie variée, which bridges late Romanticism and Impressionism

Carlos Acosta has lost none of his brilliance and in a carefully curated programme with Acosta Danza and Birmingham Royal Ballet, he still thrills audiences.

Soloist and orchestra seem out of sync, on a Proms programme that also features solid Dvořák and a Zimmermann curiosity.

A musical and dramatic exploration of Mahler’s First Symphony by Nicholas Collon and Aurora Orchestra. 

Between energetic Haydn and Schumann, Daniel Lozakovich brings freshness to Max Bruch's evergreen First Violin Concerto as Deutsche Kammerphilharmonie Bremen concludes a European tour at the BBC Proms.

A totally absorbing production, Matthew Bourne’s The Car Man at Sadler’s Wells will leave you emotionally drained, in a positive way.

Konstantin Krimmel and Ammiel Bushakevitz deliver a tense and emotional account of Schubert's late masterpiece to mark the end of Wigmore Hall's season. 

Alena Baeva is the soloist in a performance of Erich Korngold's Violin Concerto lacking a little kitsch. 

Seven years after its world premiere at the Manchester International Festival, Tao of Glass arrives at @sohoplace in London's West End.

It's New Year’s Eve 1929-style, but the Champagne is a touch warm in OHP's first production of Strauss’ most popular operetta, Die Fledermaus. 

Celebrating a prima ballerina still in her prime, Marianela – Timeless, is a programme of excellence and true artistry from all quarters.

New songs and an old symphony revive happy memories under Ryan Wigglesworth at the BBC Proms.

Cellist Guy Johnston joins Sakari Oramo and the BBC Symphony for a Prom journeying from humanity's darkest shadows to radiant optimism.

Strauss is a Proms favourite, but it was some songs from Canteloube, beautifully delivered by Louise Alder, that make the greatest impression at the LPO's Prom. 

Pianist brothers Lucas and Arthur Jussen spar with the City of Birmingham Symphony Orchestra in Poulenc before John Adams’ epic Harmonium.

Elin Pritchard’s Amelia lights up an evening which is superb musically, easy on the eye and eventually overcomes the shortcomings of Antonio Somma's libretto.

John Wilson embraces Respighi's panoramic impressions of Rome in an action-packed Italian day trip at the BBC Proms. 

A rare outing for Szymanowski's Stabat Mater forms the highlight of an imaginatively 'spiritual' Prom at the Royal Albert Hall.

Storgårds and the BBC Philharmonic are persuasive in Also sprach Zarathustra, less so in Sibelius. Thomas Dunford soothes with Dowland and Purcell.

Iain Mackay is the best person to lead the Royal Ballet School into the future and presented a rich and diverse programme of legacy and new works.

Dalia Stasevska conducts the BBC Symphony Orchestra in a nod to #America250 and Yunchan Lim plays Ravel's jazzy Piano Concerto in G. 

An interesting edit on tradition but the press night was marred by a number of on and off stage incidents and a lack of chemistry between the principals.

Extra time and penalties beckon as Julia Lezhneva displays rapidfire coloratura and endless stamina in an evening capped with seven encores. 

Timothy Ridout plays Britten and Larcher in a Wigmore Hall programme with the Britten Sinfonia. 

Sara Blanch's Covent Garden debut, together with Juan Diego Flórez on top form, lead a fizzing revival of La fille du régiment from Royal Opera.

It's the world's best opera – if we can define that as the one best suited to the distinctive talents of a composing genius.

The ensemble's performance of Reich's Drumming at Bold Tendencies establishes them once again as premier interpreters of the composer's music.

Slow movements prove the highlights of the latest instalment of the Quatuor Ébène’s Beethoven cycle. What would Elgar and August “Nimrod” Jaeger have thought?

The role of Elvira in Bellini’s I puritani contains the most challenging mad scenes in all opera, but soprano Lisette Oropesa dazzles on the opening night of Richard Jones’ new production.

English National Ballet School and the John Cranko Schule join forces to deliver strong performances in a very diverse programme at the Linbury as part of the Next Generation Festival.

La Venexiana turns Wigmore Hall into a palace somewhere in 17th-century Italy for a delightful lunchtime recital. 

Video projections in the Royal Albert Hall enhance MacMillan’s Sleeping Beauty for English National Ballet but the lack of real set and wings makes the stage seem bare and bleak.

A recreation of the final concert attended by Johannes Brahms marks the closing programme of the Orchestra of the Age of Enlightenment's 40th season. 

Rocío Molina, one of flamenco’s greatest stars turns the warmup into an extraordinary virtuoso display at London’s Sadler’s Wells.

The Next Generation Festival at the Linbury presented Rambert School and the Junior Company of the Polish National Ballet in an evening of contrasting new works. 

The Gala Flamenca has always been a highlight not only of the Flamenco Festival but also of the whole summer in London Dance. This year it exceeded expectations.

An evening of outstanding dancing from the Royal Ballet School and the School of American Ballet. It was a case of spotting tomorrow’s stars in a beautifully balanced programme.

Energetic yet atmospheric performances from Chromatica Orchestra, with Ingunn Korsgård Hagen providing firm yet spirited direction.

A welcome to Acosta Danza Yunior who have bags of potential. However, not all of the choreography engaged their talents sufficiently in this programme.

The Royal Ballet School performing as part of the Next Generation Festival, offered a host of works by both students and internationally renowned choreographers which proved to be highly enjoyable.

Compañía de Danza Jesús Carmona in UnYdos was a stunning evening of pure flamenco artistry, enlivened by a tremendous sense of theatre, and augurs well for the rest of the festival.

An enterprising trio of works by Ligeti, Respighi and Schoeck leave a lasting impression of oppression, alienation and dark nights of the soul.   

In a mismatched pairing of Elgar and Mahler, the London Symphony Orchestra produce immaculate instrumental sound quality, but is that enough?

The Royal Ballet has acquired a double bill from Sol León and Paul Lightfoot that transcended even the highest expectations. An evening to watch over and over again.

Stephanie Childress conducts Sinfonia Smith Square in a Mahler First Symphony with a difference, “semi-staged” by Tom Morris, with both musicians and audience on the move.

Fine performances of Britten's Violin Concerto and Tchaikovsky's Fifth Symphony testify to the superb artistry of Ben Glassberg, Clara-Jumi Kang and the RPO - but a new piece from Joe Hisaishi disappoints. 

Rambert celebrates 100 years presenting a triple bill of recent or new works. The message is clearly to look forward and not back.

While this revival is imperfect, the Cherubino of Svetlina Stoyanova proves a marvel to hear.

All praise should be heaped on Rosie Middleton for her brave evocation and the vocal prowess of her performance in Peter Maxwell Davies’ Eight Songs for a Mad King. 

The Philharmonia, Santtu-Matias Rouvali and Benjamin Grosvenor shine in the recreation of an all-Strauss extravaganza that was conducted in 1947 by the composer himself.