Find classical music concert, opera, ballet and dance reviews | Strauss R.

A superlative cast and perceptive staging make for a gripping revival of Strauss’s Ariadne auf Naxos at the Glyndebourne Festival.

The Staatsorchester Darmstadt under Will Humburg performed three mightly works for large orchestra to bring its season to a close: Kurtág's Stele, Strauss's Also Sprach Zarathustra and Stravinsky's Rite of Spring.

Outstanding solos, orchestral discipline and novelties in musical arrangement made for another quality symphonic experience from the Melbourne Symphony Orchestra.

A thrilling finale to the 2017 Cardiff Singer of the World

In a state of almost child-like transfiguration and fulfilment, Strid's voice fully encompassed the extremes of the last scene.

Evgeni Bozhanov marks his Liverpool début with the RLPO under the watchful eye of conductor Marzena Diakun. 

The Seattle Symphony's all-Strauss program included a refreshing take on the Four Last Songs with soprano Gun-Brit Barkman and a sonic tour de force in the rare Eine Alpensinfonie.

In an elegant new production by Ivo van Hove, Malin Byström portrays a graceful, erotic Salome and the RCO play with sensuous lyricism under Daniele Gatti.

Gloriously sung and stylishly played, this Rosenkavalier is a feast for the ears and eyes and should be heard without delay. 

Juraj Valčuha’s CSO debut was an evening of diverse repertoire, from Haydn to Strauss (both Johann II and Richard) to Szymanowski, the latter featuring a memorable performance by Christian Tetzlaff.

Most music Festivals only have to deal with demanding divas, mercurial maestros or bad weather. In Istanbul there is a lot more at stake.

Fabien Gabel and the Orchestre Symphonique de Quebec present inventive and colorful musical pictures by Schmitt, El-Khoury, Honegger, Zappa and Richard Strauss.

With barely time for coffee and baklava after the Orchestre Pasdeloup's Arabian matinee, I stepped boldly back into the harem for a rendezvous with the Orchestre National du Capitole de Toulouse. 

Renée Fleming swoons in Strauss' Four Last Songs, while having Christian Thielemann and the Staatskapelle Dresden are our guides in the Alpine Symphony. 

Leif Ove Andsnes is supremely eloquent in Rachmaninov’s Fourth, but Strauss's Macbeth looks set to remain on the fringes. 

A classic production of Strauss' searing operatic depiction of the House of Atreus is revived with a particularly accomplished cast and musical direction.

Semyon Bychkov, the Berliner Philharmoniker and Gautier Capuçon present an outstanding programme exploring the different sides of musical heroism

A voice with the proportions of a cathedral; a higher register that's entirely secure; an attention to text. Rosenblatt Recitals gave a tantalising preview of a singer who will have a stellar career.

In Wagner and Strauss, the beauty and power of Mattila's voice, still fresh and flexible, left the audience reeling in a recital that was a showcase for technique and artistry.

Iréne Theorin gives a powerful interpretation of Salome and Elektra's mad scenes in a concert including Also sprach Zarathustra and a contemporary composition.

Last night in Sweden: Daniel Barenboim and the West-Eastern Divan Orchestra make a performance of Strauss' Don Quixote to remember at the Stockholm Concert Hall.

A sombre programme of four substantial works, part of the LPOs series of concert Belief and Beyond Belief nevertheless had something of showbusiness about it, thanks to the charismatic presence of John Mauceri. 

Esa-Pekka Salonen conducts the US première of Tansy Davies' Forest, a work intended to evoke a Romantic sensation of mystery and nature.

Sir Andrew Davis also led superb performances of Delius’ Brigg Fair and Strauss’ Don Quixote, with Mark Kosower and Wesley Collins as soloists.

The Iceland Symphony Orchestra's tour to the acoustically excellent Göteborgs konserthus in Sweden for a concert of Sibelius, Strauss and Thorvaldsdóttir was an obvious success, demonstrating an orchestral sound that deserves to be heard abroad more often. 

There are several things wrong with the new Robert Carsen directed Der Rosenkavalier that just opened at the Met, but the singing is not among them.

Zubin Mehta's conducting is a disappointment, but Guth's remarkable production makes powerful sense of Strauss and Hofmannsthal's rich fairy tale. 

A reading full of emotion from conductor Juraj Valčuha sets up one of the best San Carlo Orchestra’s performances of this season.

Fabio Luisi and the DNSO did not disappoint audiences in San Francisco, presenting a captivating program of Beethoven, Strauss and Nielsen.

Reflections on mortality provided by the French contralto Nathalie Stutzmann conducting the London Philharmonic Orchestra and Choir in two works by Richard Strauss and Mozart.

Lise Davidsen's Ariadne and Sara Hershkowitz' Zerbinetta shine in the Arctic Philharmonic's slightly lacklustre Ariadne auf Naxos

For her London recital debut, Sondra Radvanovsky offered a varied programme of ranging from Bellini to Barber, showing off the technique with which she has dazzled American audiences.

American Ballet Theatre's Whipped Cream should be seen for Ryden's sets and costumes alone. A free-floating eye and a sweetshop whose ingredients come to life create a very surreal world.

Jumping in to cover for Valery Gergiev,  Susanna Mälkki made a promising debut with the LSO, offering a commendable, if flawed, Also sprach Zarathustra.

In Los Angeles, Patricia Racette was an impressive Salome but the orchestra was, as it should, the main character.

A well-sung revival of a witty and supremely theatrical production of Strauss’ operatic exposé.

The storm prevailed under Stefan Solyom – perhaps inevitable with Shostakovich – but quieter moments in the Strauss were beautifully handled by Lise Davidsen.

The Vienna Philharmonic Orchestra performed new(ish) music straight from its own bloodline (René Staar) under the direction of Maestro Franz Welser-Möst alongside works by Schubert, R. Strauss, and, inevitably, Strauss II in their first concert of 2017 at Carnegie Hall.

Clear playing from Pierre-Laurent Aimard in the Emperor Concerto and a sense of the dramatic in Also sprach Zarathustra brought life to old warhorses, while a new concerto from Tansy Davies made waves.

Captiavting European musical narratives in Washington DC.

A declamatory Bruckner Te Deum made up for a less exciting first half of Barry and Mahler. 

Gergiev and the Mariinsky excel in Act III of Tristan und Isolde with the help of star singing from Vekua, Westbroek and Nikitin; George Li shows promise in Liszt.

Two works by Brahms and an early tone poem by Strauss only partially succeed in performances by the LSO under Alpesh Chauhan and with Benjamin Grosvenor as soloist.

A programme of songs by Wolf, Strauss, and Scandinavian composers, with Iréne Theorin and Ulrika Tenstam.

In his Houston Symphony debut, Behzod Abduraimov holds court with Beethoven, even though the orchestra couldn't quite match him. 

Renée Fleming has decided the time is right to bow out gracefully from the operatic stage, choosing her signature role to bid the fondest of farewells to London.

With Richard Strauss’s epic symphonic poem and Benedetti performing Tchaikovsky’s Violin Concerto, the CBSO had major expectations to fulfil. 

The Met revived Jurgen Flimm's modern production of Salome, with Patricia Racette making a successfu last minute role debut in the title role.

Jeremy Denk's take on Brahms didn't impress Brahms, the Piano Concerto no. 1 in D minor proving an unequal, if refreshing, contest. 

A lively William Tell Overture from Pappano and lyrical Bruch from LSO leader, Roman Simović, preceded a majestic performance of Strauss' Alpine Symphony.