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Frank Peter Zimmermann dazzles in an angelic tribute, while Alan Gilbert and the NDR Elbphilharmonie Orchester emphasise clarity at the expense of warmth.

With fabulous solo singing from Pavol Breslik and Elsa Dreisig, Beethoven's only oratorio Christ on the Mount of Olives turns out to be a gem. Sadly, the Berg Violin Concerto misses the mark.

Oppressed by the prospect of wall-to-wall LvB throughout 2020? Here was a joyous reminder of why we are celebrating.

Despite theatrical drawbacks, this Wozzeck is heartily recommend due to Yannick Nézet-Séguin's staggering understanding of all facets of Berg's score.

From the trials in love of a libertine, through the death of an angel, to the rise of an emperor, Rustioni takes charge of a rollercoaster evening of emotional turbulence.

RSNO Season opens in Dundee on Vienna’s Golden Age, Søndergård conducting a boisterous Don Juan, Karen Cargill singing Berg Seven Early Songs and a sparkling Mahler Symphony no 1.

As part of Philharmonia’s the Bittersweet Metropolis strand focusing on the music and culture of Germany in the interwar years, Esa-Pekka Salonen curated an interesting group of works designed to paint a picture of the more serious end of the music world in Berlin.

Sultry Berg and and a lithe, forceful Beethoven Nine herald an exciting new reign in Berlin.

Erich Korngold's luscious String Sextet provides the musical highlight of Erkki-Sven Tüür's Pärnu programme. 

Esa-Pekka Salonen’s exploration of the Weimar Republic captures the seriousness but none of the fun of the turbulent artistic period.

Berg, unlike his teacher Schoenberg, didn't throw out the baby with the bathwater; Bruckner too never forgot his traditional roots. The NDR Elbphilharmonie Orchester, Paavo Järvi and Laura Aikin demonstrate.

Pure jouissance from that musical multitasker extraordinaire Barbara Hannigan in an evening of contrasting delights with the London Symphony Orchestra.

Kentridge’s use of video technology creates another, highly complex, visual score next to Berg’s sonic one.

Dorothea Röschmann has a soaring silvery line when needed (she is a famous Marschallin).

Early works by Schoenberg and Webern filled out an austere program.

The passion of Alban Berg's music under Donald Runnicles fights against a disjointed production by Ole Anders Tandberg.

Works by Alban Berg and Gustav Mahler recently heralded this year’s concert season in Zurich, where Artist in Residence Janine Jansen gave a superb performance. 

Classy performances from Leonidas Kavakos and Ying Fang, joining Christoph Eschenbach and the Verbier Festival Orchestra in a polished Berg Violin Concerto and a sublime Mahler 4.

Prokofiev juxtaposed with Debussy and Berg in Steven Osborne's latest Wigmore Hall recital. 

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.

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

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

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.