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An astonishing showcase, with Christian Li tackling both works with technical skill and swagger that belied his tender age. 

A wide-ranging programme from the shape-shifting ensemble at Wigmore Hall explores love in its many guises. 

Warm Borodin and energetic Mendelssohn from the ECO players in an online experience which lacked occasion.

An evening of Russian classics at the Royal Festival Hall, where Esther Yoo joins the RPO to play Tchaikovsky's Violin Concerto. 

In a performance that brought to mind Jacqueline du Pré, Camille Thomas helps us fall in love with Elgar's Cello Concerto all over again.

Barrie Kosky's makes a limited impact in his debut at Opéra de Paris, apart from an hallucinogenic Polovtsian Dances.

Shelley and the RPO make sense of Shostakovich with lush Glazunov, tight Borodin and dazzling Prokofiev with Kian Soltani.

An ambitious programme demonstrated the musical passions and prowess of this most sought-after pianist, holding the Halloween audience in his devilish spell.

Opening their season with an all-Russian programme, Royal Northern Sinfonia ventured beyond the standard chamber orchestra repertoire, with patchy results.

The BBC NOW gave us two hearty Russian works and celebrated the lunar landing with a world premiere of Huw Watkins' The Moon.

A potentially stimulating mix of full-bloodied Russian orchestral writing not fully realised by the RPO and Alpesh Chauhan, but with a promising concerto debut by Diana Adamyan.

Some rousing singing from the RTÉ Philharmonic Choir of the famous choruses from the great operas. 

Tugan Sokhiev's debut with the New York Philharmonic was not an unqualified success. 

The Royal Northern Sinfonia and Olli Mustonen push Shostakovich to the brink of insanity, and suprise with Mozart's 'Coronation' Concerto.

Schubert’s String Quintet was certainly a crowd-puller at this concert, as Kings Place's Cello Unwrapped series continues. 

Ravel and Prokofiev offer divergent views on the piano left-hand concerto, but fine performances ensure satisfying contrast.

Intended to signify the contribution of Russian music to the Western canon, the Royal Choral Society gave admirable performances of two major choral works, rarely heard in Winchester Cathedral.

The hometown Orquesta Filarmónica de Bogotá (OFB) proves big-league as they launch the Teatro Mayor Julio Mario Santo Domingo's Bogotá es la Rusia Romántica.

Recitals of Russian song don't have to be suffocated with doom and gloom. Neither do they have to be built upon the works of Tchaikovsky and Rachmaninov.

Tcherniakov's moving production delves into the psychological rather than revelling in the spectacular. 

Warhorse (noun): creaky old classic played by orchestras in their sleep at least once a season.  There was absolutely no snoozing, however, through Alice Sara Ott's startling performance with the Philharmonia.

The touring Tchaikovsky Symphony Orchestra brings a 'Finnish Sandwich' to Leeds.

Charles Dutoit, still sporting his trademark slick of black hair and a 79-year-old whirlwind of francophone charisma, clearly brings this band's playing to a new level, especially when the repertoire happens to be French and Russian music of the 20th century.

The 2016 Proms come to a riotous close at the Royal Albert Hall.

As Birmingham-born Alpesh Chauhan builds his reputation towards becoming a conductor much in demand, so the CBSO finds itself in the fortunate position of securing the services of Mirga Gražytė-Tyla as Andris Nelsons’ successor as Music Director, with a chance to grow Chauhan as Assistant Conductor.

On day release from the Covent Garden pit for their annual evening in the limelight, the ROH Orchestra took a quick spin through works by Russia's Mighty Handful. 

To celebrate its 50th birthday Dutch National Opera put on a festive tribute to the people that have made it the innovative and much-admired house it is today.

In a quirky programme featuring English, Welsh and Russian music the BBC National Orchestra and Chorus of Wales began their new season at St David’s Hall showcasing, with mixed results, their composer-in-association Huw Watkins, Elgar and three Russian composers at different stages in their careers.

A double bill at the Birgitta Festival staged Scheherazade and the Polovtsian Dances, both performed in costumes and on sets based on the original designs dating from around 1910.

In the third concert presentation of Mussorgsky's Boris Godunov in London this season, the Philharmonia's semi-staged attempt, conducted by Jakub Hrůša, was admirable. 

The Borodin Quartet put on a showcase display of pure, rich tone and superbly unanimous playing at Sage Gateshead but their Shostakovich lacked bite.

A virtuosic performance from Nemanja Radulović of Paganini was the highlight of Fabien Gabel's concert with the Orchestre national d'Île-de-France.

As the December nights darken and the winter's first snowflakes fall from the sky, the Scottish Ensemble's candlelight concerts provice a welcome space for reflection at this busy time of year.

Miloš Karadaglić plays his debut at Colston Hall with Brussels Philharmonic under Michel Tabachnik. 

Spirited performances from the Bournemouth Symphony, conducted by Julian Kuerti, in a trio of Russian classics. 

Tokyo Komaki Ballet, a company intricatelly tied  to the Ballet Russes, performed three of its works, Afternoon of a Faun, Prince Igor and Petrushka. 

There’s a touch of Borodin bus syndrome around at the moment; you wait years for a production of Prince Igor, then two come along in succession. The first was from the Metropolitan Opera, directed by Dmitri Tcherniakov, swiftly followed by the Novaya Opera which brings its production from Moscow to London as part of the UK—Russia Year of Culture.

Even the best opera glasses would be no match for the intensity of this close-up introspection: a new production of Borodin's Prince Igor is playing at the Met.

One hundred years after the première performance of Stravinsky’s ballet The Rite of Spring, perhaps one of the most controversial and infamous stage premières of all time, the BBC Symphony Orchestra and the Barbican Centre’s Total Immersion collaboration provided an all-round look at every aspect of the music, choreography and the première itself through a variety of events on Sunday, culminating

Although it was probably arranged via a series of emails between managers, the audience at Prom 41 could have been forgiven for thinking that this was a match made in heaven.

Prom 30 saw the return of the BBC Philharmonic Orchestra under its Conductor Laureate Gianandrea Noseda with a Russian-themed programme. Prokofiev, Borodin and Tchaikovsky were played alongside Edward Cowie’s BBC commission and world première Earth Music I – The Great Barrier Reef.The Borodin overture and Polovtsian dances from Prince Igor served as an energy-injection to the start of the evening.

It took the Royal Philharmonic Orchestra a little while to settle into tonight’s performance – which was a shame, because Borodin’s overture to Prince Igor can be a fantastic programme opener. A slightly untidy brass chord began the measured introduction, which sadly lacked tension in the build-up to the sudden fanfare and breakneck main theme.

It is not often you can say that the conductor’s outfit was as ornate and charming as the billed programme, but the entrance of a silver-coated Grzegorz Nowak proved that even a conductor’s first bow can be the perfect aesthetic prelude to an evening of similarly silvery, charming music.

The beautiful thing about music is that it can be a physical embodiment of passion. Violinist Andrew Haveron’s performance of Tchaikovsky’s Violin Concerto on Thursday night in Dublin occasionally felt like it lacked a bit of passion, dazzlingly virtuosic though his performance was.

Sitting in the seats at the Frank Sinatra School of the Arts auditorium in Astoria, the boisterous, catchy tunes of Leonard Bernstein’s Overture to West Side Story rang out. Crisp, clean, and excitedly performed, it was a great start to an evening of what Maestro Silas Nathaniel Huff called ‘Riffs and Dances’.

On Friday 26 August, Google chairman, Eric Schmidt, told a MediaGuardian Edinburgh International Television Festival audience, "Over the past century, the UK has stopped nurturing its polymaths. You need to bring art and science back together." The following morning, Russia's Kopelman Quartet opened their capacity crowd Queen's Hall concert with String Quartet No.

I had high expectations for the evening after being very impressed with an MSSO performance I had seen as a teenager. The first piece on the programme was the Polovtsian Dances from Borodin’s opera, Prince Igor. The performance highlighted both the playful and brutal elements of the piece which made for an exciting performance.

El director británico Rumon Gamba se sube al podio del Coliseum de La Coruña para ofrecer junto a la Orquesta Sinfónica de Galicia obras de carácter danzable de Borodin y Rachamninov y una estimulante interpretación de Alén de Soutullo.