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Some chamber concerts, like this one at Snape Maltings, can turn a public hall into a large drawing room. 

A  midsummer night but no moonshine for this madness in the Britten Studio. 

At last, Bruckner conducting is no longer a specialism confined to a few Austro-German artists devoted to overcoming resistance to the composer’s greatness.

Alban Gerhardt and Steven Osborne offered a vivid and memorable reprise of Ben and Slava's iconic recital of 1961. 

For the Aldeburgh Festival's 75th anniversary celebrations, Daniel delivered a great performance of Vaughan Williams's Oboe Concerto, in the company of Gustav and Imogen Holst.

Harmonious images and geometric designs frame an effective staging and well sung performance of Monteverdi's last opera.

The venerable composer celebrates his 80 years with an intense and moving performance by six loyal musicians drawn from his family and friends, with himself on double bass.

Elgar's Second Symphony crowns an all -English programme by John Wilson and his Sinfonia of London at the Aldeburgh Festival. 

A programme of orchestral showpieces are given the John Wilson treatment, although Rachmaninov's Symphonic Dances disappoints. 

Hannu Lintu conducts the BBC Symphony Orchestra in an epic symphonic programme at Snape Maltings. 

The Doric String Quartet plays all six of Béla Bartók's quartets in one day at this year's Aldeburgh Festival.

Two dozen heroes played one of the house composer’s most intense and technically demanding scores with bravura skill and a collegiate musicality that stirred the spirit.

A rare outing for Britten's Piano Concerto in the opening concert of the Britten Weekend in Suffolk.

Sometimes streaming a concert unadorned with context or contrast is not enough.

Britten's Cello Symphony and a no-holds-barred account of Shostakovich’s mighty Tenth Symphony at Snape Maltings

Six concerts of Suffolk’s finest home-grown produce garnished with side orders of Mozart, Copland and Elgar.

Emily Howard's new opera, an Aldeburgh Festival commission, takes an ambitiously modernist approach to a dystopian story of loneliness: a tough, but thought-provoking work. 

Irene’s "Bane of virtue" was the first moment at which a singer’s performance met the measure of the work.

Julius Drake, Krzysztof Chorzelski and Mark Padmore contributed their notable gifts of piano, viola and voice respectively in a very special, often heartfelt fundraising evening for two music education charities. 

At the opera’s great climaxes Suffolk’s famous wood-and-brick building could barely contain it.

A joyous, consummately skilful account from Vox Luminis breathed delightful life into Purcell and Dryden's unusual semi-opera at Snape Maltings.

Britten and Shostakovich were great friends, so it was appropriate that both composers were represented in the Belcea Quartet's two recitals on the opening weekend of the 70th Aldeburgh Festival. 

Netia Jones' new production taps into Britten's silvery underworld in a staging dominated by video wizardry which is hypnotically beautiful, but comes at a price.

Spence sounds confident in an evening of Tippett and Britten at Snape, culminating in a spinetingling account of John Donne's Holy Sonnet X. 

Ian Bostridge's exploration of Britten and Tippett song cycles is overshadowed by a fantastic string quartet in a mixed programme at Aldeburgh.

An evening of exceptional originality and daring in Snape Maltings – not to mention glorious music – got the Aldeburgh Festival off to a striking start for the 2016 season.

Two short works by Harrison Birtwistle put forward interesting views of classical themes: the psychologically involved The Corridor and a dynamic new vision of Medea, The Cure. 

In a world that sees racial hatred and resulting violence across the world, Aldeburgh's stylish production re-establishes the meaning of Owen Wingrave for a new generation, performed by the new generation.