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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. 

The Zürcher Kammerorchester (ZKO) plays selections by Arnold Schoenberg and his pupils, Anton Webern and Alban Berg, in the context of a first-rate exhibition.

Zombie clowns abound in Stefan Herheim's uncomfortably comical and upsetting Copenhagen production of Alban Berg's Lulu.

  The concert, which also featured quartets by Mozart and Brahms, was characterized by elegance and refinement, but also great musical drama.

Jennifer Larmore’s eclectic song recital themed around love and longing was uneven, but the heartfelt American songs left one craving for more.

The final orchestral performance of this year’s Gergiev festival saw the city of Rotterdam play host to St. Peterburg’s Mariinsky Orchestra.

For this diamond jubilee as a conductor, Bernard Haitink conducted the Netherlands Radio Philharmonic in a programme of Wagner, Berg and Mahler. 

Bernard Haitnik celebrates his 85th birthday with outstanding accounts of Berg and Beethoven in a moving evening at the Barbican. 

Third time’s a charm? Or is three a crowd? It isn’t often that an orchestra takes up an entire weekend at Carnegie Hall. Could this be too much of a good thing?

Linked together by Bach's chorale “Es ist genug”, the Philharmonia performed Lindberg's enigmatic Chorale, Berg's Violin Concerto and Schubert's Symphony no. 9 in C major “Great”. After an underwhelming first half, some invigorating Schubert saved the day.

Bernard Haitink and Leonidas Kavakos join the New York Philharmonic for a programme of Webern, Berg, and Beethoven.

Matthias Goerne steps in for Thomas Hampson and electrifies James Levine's Wozzeck at the Metropolitan Opera. 

A supremely entertaining and highly descriptive Symphonie fantastique from Lothar Koenigs and the Welsh National Opera Orchestra.

The BBC Symphony Orchestra and Christine Brewer close Wagner bicentenary celebrations at the Barbican by showing his influence on Strauss, Webern and Berg on December 20th.

Mitsuko Uchida and players from the Berlin Philharmonic Orchestra played Berg, Schubert and Messiaen at Wigmore Hall, creating moments of sheer beauty.