A rapt audience witnessed a very special musical event where superficial differences in musical style and personal presentation counted for nothing with musicianship of the highest order.
Tamara Wilson was a top-notch Ariadne, supported by a strong cast, including Kate Lindsey as a passionate Composer, a thrilling Zerbinetta by Daniela Fally, and an unbeatable Bacchus in Andreas Schager.
Christian Thielemann led a memorable performance of Strauss's chamber opera Ariadne auf Naxos with a strong cast in a new straightforward production by David Hermann.
Almost every June from 1989 to 1999, I visited the charming town of Feldkirch, in the Vorarlberg region of Western Austria, for the annual Schubertiade, originally founded in 1976 by the great German baritone Hermann Prey.
Rouvali's role as the Phiharmonia's Principal Guest Conductor may prove to be one of the most exciting musical relationships in London, based on their remarkable performance of Eine Alpensinfonie that headlined an all-Strauss programme.
In the second instalment of his Strauss and Shostakovich exploration, Payare directs the Ulster Orchestra in two hugely contrasting works premiered in times of conflict.
Simone Lamsma gave an intense, exciting and witty performance of Bartók's love song with the Belgrade Philharmonic and Daniel Raiskin, plus Beethoven, Weber and Strauss.
Franz Welser-Möst selected a Viennese-inspired program for The Cleveland Orchestra’s annual gala, with works of Strauss (both Richard and Johann II) and Ravel following a Mozart piano concerto.
Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper.
Pared-down forces of the ACO performed pared down masterpieces, in a brilliantly conceived programme which included works by Wagner, Strauss and Mozart.
Husband and wife join together with the Ulster Orchestra in Ulster Hall, at the beginning of a year-long féile pairing the music of two twentieth-century giants of symphonic repertoire.
The Berliners' second concert comprised the core repertoire for which they are famous, Beethoven and Strauss. Under the dynamic baton of their incoming Principal, Kirill Petrenko, these warhorses were made fresh again.
Ariadne auf Naxos shines in an ultra-contemporary world of high net worth tantrums at Longborough Festival Opera, complete with glam rock fairies, giant string, and glorious music.
Amicus chamber orchestra celebrated its NYOS roots by inviting 25 young players to join them for their powerful 10th Anniversary concert, conducted by Catherine Larsen-Maguire with Glasgow-trained soprano Anush Hovhannisyan.
An affirmation of the importance of cultural values in the face of the abyss, or Richard Strauss fiddling while Europe burnt? Tim Albery's production leaves it to us to decide.
Strauss' mix of bedroom farce, comedy of manners and bittersweet musing about aging is acted and sung superbly in this revival of Richard Jones' production.
Kaufmann’s magnificent instrument was not seen at its best in songs by Strauss, but there was pleasure from his clear artistry and the interesting orchestral pieces played by the BBCSO.
The Orchestra of the Age of Enlightenment resurrected with 1926 silent film of Strauss' Viennese comedy – with the lost ending pieced together – and gave a commendable performance of the reduced score.
Conceptually, the programme of descending and rising fourths offered a real treat: in practice, the musicians' skill was in danger of being lost as they attempted to recover from their opening gimmickry.
Kirill Petrenko’s second night at Carnegie Hall packed a punch as the orchestra of the Bayerische Staatsoper delved deep into Strauss’ score, supporting an impressive cast of singers.
Rafael Payare, in his first appearance with the RPO, has musical encounters with Don Juan and Don Quixote, and a Mozart symphony provides a suitable contrast.
