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Smile, because there's light at the end of the tunnel, illuminated by Andrew Litton, Philippe Quint and the Singapore Symphony.

Musically and dramatically, Jay Lesenger's production makes a strong case for John Corigliano's sole opera.

A quarter century after its New York première, Corigliano’s Symphony no. 1 has maintained its emotional impact. 

How do violinists devise their recital programmes? The conventional format has been to choose a violin sonata from each musical era, or to focus on a particular composer or national style.

Twelve years after its creation, we’re still talking about what’s going on in Russian Seasons and we’re still looking forward to what the next dancer in gold, or red, or green will do with the role.

Houston Symphony’s program starring John Corigliano’s Conjurer: Concerto for Percussionist and String Orchestra and Maurice Ravel’s Daphnis et Chloé crept through mists.

In a program of vivid Italian work, violinist Elina Välhälä, performing Corigliano's violin concerto, seemed to transform into a formidable sprite.

A stirring Pictures at an Exhibition makes for a memorable CSO gala.

It is odd to pair a seven-minute world première with a 72-minute Mahler Symphony, but there is so much life packed in to John Corigliano’s STOMP for Orchestra, that the two halves of Houston Symphony Orchestra’s concert felt surprisingly well balanced.

A triumph for Los Angeles Opera's new production of John Corigliano's The Ghosts of Versailles.

The Los Angeles Philharmonic marks its first visit to Montreal since the heady days of Expo ’67 for Corigliano and Tchaikovsky. 

Stravinsky's Petrushka the highlight of a varied programme to open the Auckland Philharmonic's 2014 season. 

As part of the official opening of the new Ames Family Atrium, the Cleveland Museum of Art presented the brilliant twelve-man choral ensemble Chanticleer in a sold-out late evening concert on 30 January.

‘There's no such thing as new music, just music’, Bruce Levingston remarked halfway through the 10th anniversary gala concert for the ‘Premiere Commission’ Monday night. After hearing the evening’s performances, it feels impossible to disagree.The two opening piano pieces were like impressions, snapshots of emotions from a particular place or time.