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.
The remarkable youth orchestra that is the Waseda Symphony from Tokyo performs a programme of western Romantic music conducted by Kazufumi Yamashita together with a knockout contemporary Japanese work.
Schubert song orchestrations with Gerald Finley are not wholly convincing, but the Berliner's virtuosity sweeps all before it in Strauss's Alpensinfonie.
In yet another intriguing programming maneuver, Seattle Symphony music director Ludovic Morlot devoted this weekend’s performances to the subject of heroism.
After a shaky start with Metamorphosen, the Oslo Philharmonic embodies the evening's theme of transformation by ending on a stonker of a Petruskha, via the perenially fabulous Lise Davidsen.
Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.
