Find classical music concert, opera, ballet and dance reviews | Berg

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.

Elīna Garanča brings subtle sonorities to an otherwise bravura and boisterous concert by Simon Rattle and the Berlin Philharmonic.

Experiments in music and ideas brought together by the London Sinfonietta and guests at a special concert all about space and time.

Despite some fascinating, impressive and often beautiful moments, the consistent refusal to give the audience time to applaud, pause and digest what they had just heard turned the evening into a wash of death songs.

A great programme of varied but accessible 20th-century music excites in spite of its imperfections; Faust gives a beautiful, introspective reading of the second Berg concerto.

Hannigan plays with expectations, opening with a single spotlight after a complete stage blackout to dramatic effect, and I am pretty sure she was rocking slippers on stage. 

Vienna staged the first three-act performance of Lulu with Willy Decker adding to his 2000 production, with excellent singing contributing to its success.

Patricia Kopatchinskaja and the Tonhalle Orchestra Zurich under conductor Teodor Currentzis brought the audience to its feet with works by Alban Berg and Dmitri Shostakovitch.

Christoph Loy's Oslo production of Wozzeck is a dramatic triumph, with gripping performances from a cast led by Audun Iversen's desperate title character.

Mozartian lightness and wit, dark beauty from Berg and melodious angst from Schubert: the Tetzlaff show us three very different sides of the Viennese string quartet

Barbara Hannigan joined pianist Reinbert de Leeuw for a Second Viennese School recital at the Park Avenue Armory.

Stefan Herheim's eagerly awaited production of Berg's Wozzeck distances us from the emotional heart of the tragedy by portraying the story as a hallucinatory death-room experience.

Without glitz, extravagance or the need to be expressly shocking, Robert Carsen's new production of Wozzeck at the Theater an der Wien is exceptional.

A dream programme of works by Strauss, Berg and Sibelius, matched by performances from Sakari Oramo, Alina Pogostkina and the BBC Symphony Orchestra that really hit the sweet spot.

A refreshing Austro-German programme of works that neatly dovetailed into each other, presented with energy by the Scottish Chamber Orchestra and Robin Ticciati.

A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.

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.

An exhilarating ride through Mahler's Seventh at the Barbican. 

It seemed at times that Dame Mitsuko Uchida and clarinetist Jörg Widmann have been collaborating for decades.

Clarity and mounting horror in the orchestra pit, the full truth and ugliness of the human condition onstage. Dutch National Opera’s new production of Wozzeck is stomach-churning for all the right reasons.

A strong, compelling staging – coherent in aesthetic and philosophy, if a little restrained in performance. 

The Grim Reaper swept the aisles of the Royal Festival Hall in Vladimir Jurowski's latest programme in the Southbank Centre’s “Belief and Beyond Belief” series which explores faith and spirituality. 

An uncompromising approach to the unfinished score of Berg's opera results in a compelling musical and dramatic interpretation.

This was an ingenious and memorable concert of rarities and hybrids from early 20th-century Vienna, curated and performed by the ever imaginative Janine Jansen.

The concluding concert in the Amsterdammers’ brief Barbican residency mixed youthful promise with a programme that seemed to sum up 2016’s angst and fears.

William Kentridge's Lulu for ENO is easier to admire than it is to love. But if you want to be challenged dramatically, this is the opera to do it.

Karen Gomyo and the Vancouver Symphony present a ravishingly romantic programme of Berg and Rachmaninov

Although a British composer by birth, Rebecca Saunders is most respected in Germany, where she has spent much of her working life. Her latest project was an immersive choreographed programme with the Junge Deutsche Philharmonie based around her violin concerto still. 

Baritone Matthias Goerne and pianist Daniil Trifonov combined their talents to explore the darker side of human existence in an intense, uninterrupted 90-minute recital.

A mesmerising Wozzeck, thanks to the trampled dignity of Florian Boesch’s antihero, Asmik Grigorian’s gloriously sung Marie, and a thrillingly savage Netherlands Radio Philharmonic.

As part of the Konzerthaus’ Mittagsmusik (Midday Music) series, young soprano Anna Lucia Richter teamed up this week with one of the greatest living song accompanists, Gerold Huber, to present an extraordinarily varied matinée of songs in the Schubertsaal.

Both guest artists of the Sydney Symphony Orchestra’s concerts this week appeared in Australia for the first time: the octogenarian Christoph von Dohnányi and the versatile violinist, less than half his age, Carolin Widmann. The great German conductor must feel a certain pride in his ancestry, as he kept the Hungarian spelling of his surname.

A rotating set and a plethora of visual distractions can't ultimately detract from what proves a musically satisfying production of Berg's operatic masterpiece.

Dame Mitsuko Uchida sources truth, beauty and graceful rebellions in a Carnegie Hall recital of Berg, Schubert, Mozart and Schumann.

Jonathan Nott, Johannes Moser, and the CSO portray a traditional program in particularly evocative fashion

Soprano Lisa Larsson and pianist Roland Pöntinen dispelled the midwinter gloom with a heavy dose of Scandinavian Romanticism and the Dutch première of Rolf Martinsson's Songs on Poems by Emily Dickinson.

Bach, Berg, and Shostakovich at Symphony Hall "The Breakfast Of Champions".

A stormy evening in New York was a perfect setting for an intimate and unforgettable lieder recital by the two long-term collaborators at the top of their game.

In addition to incorporating twelve-tone rows for each character and within larger musical units like canons and chorales, the entirety of the opera itself is palindromic in structure, with performers whose characters died gruesome deaths during the first act returning as new characters in the third.

The set is a stark, grubby nonentity. A central concave structure spits out each scene's requisites, flashing up like apparitions from the vortex of Wozzeck's mind.

Bringing out the unabashed colour and detail of the score, Andrew Davis delivered a superb reading in the pit, tightly coherent and with exemplary attentiveness to articulation. 

Dohnányi offers hugely satisfying interpretations of varied programme at the Southbank Centre with the Philharmonia and Carolin Widmann.

Mezzo-soprano and new music specialist, Katharina Rikus shuffled onto an elevated stage behind the ensemble in Pierrot make-up and costume to perform Schoenberg's masterpiece.

The plot revolves around the daily life of a simple German town. But this fine production will make you glad that this is not your story.

Spirits ran high and the music captivated record crowds at this year's Ostrava Days New and experimental Music Festival.

The child-woman Lulu is a reflective receptacle for desire in Dutch National Opera’s extraordinary filmic production.

Outside of the opera pit, Marc Albrecht and his Netherlands Philharmonic Orchestra demonstrated their magic at the Concertgebouw.

Barbara Hannigan joined the London Symphony Orchestra and Sir Simon Rattle for performances of Berg’s Three Fragments from Wozzeck and Ligeti’s Mysteries of the Macabre. 

The four-part concert, conducted by Franz Welser-Möst, emphasized Boulez's relationship with the orchestra as composer, teacher, conductor, and friend, with four musical works to illustrate those characteristics.

A superlative Berg Violin Concerto with Leonidas Kavakos makes up for disappointing Schumann from Gatti.