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Stephen Hough performs major works by Schumann and Chopin, paired with the works of English composers... including himself.

If some aspects of his interpretations sounded here more spontaneous than settled, that is one reason we go to live concerts.

In a wide-ranging recital program, Sergei Babayan champions repertoire from Bach to the late 20th century.

A matinee performance that was bright and polished across the board, boding well for the company's future. 

In his rendition of Beethoven's C minor Concerto, Yefim Bronfman's ability to mix powerful and graceful statements was as amazing as ever.

An extraordinary evening in the Großes Festspielhaus as the pianist draws his audience in for a marathon recital of Berg, Gershwin and Chopin. 

The 19-year-old performs four masterpieces presented in chronological order and illustrating the evolution of the art of the keyboard from the mid-18th to the mid-20th century.

Lilya Zilberstein, Gabriela Montero and Martha Argerich were just three of the pianists in this celebration of the piano in Hamburg. 

An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

Sofia Coppola's film closed on a note of optimism. The message seemed to be: “Normality is just around the corner. We’re coming back.” 

Unlike many of his peers at the concert grand, Grosvenor kept histrionics to a minimum as he plays a well-programmed London recital. 

After an eight-city recital tour of Japan with duo partner Daishin Kashimoto, Kirill Gerstein gave a recital of his own at Kioi Hall, arguably Tokyo's best acoustics for solo piano.

There was never any hint of over-sentimentality in the playing of the Bournemouth Symphony Orchestra's artist-in-residence. 

Scriabin and Liszt juxtaposed at Wigmore Hall, with rare and tender Schubert and a thoughtful Beethoven Tempest. 

From Mozart and faux Pugnani to a Miklós Rózsa rarity, this was a brilliant showcase for the British-Polish violinist's artistry. 

Pacific Northwest Ballet's Rep 1 delivers a magnificent first installment of their 2020-2021 virtual season.

Beatrice Rana and Mario Brunello provide live music for seven internationally renowned dancers, including Paris Opéra Ballet’s Hugo Marchand and Spanish flamenco whizz Sergio Bernal, at the 15th-century Rocca Brancaleone.

Martha Argerich hadn't played Chopin's Third Piano Sonata in public for at least 25 years... so this performance at the Laeiszhalle Hamburg came as a huge surprise.

The final full stop for a much-loved company

In his Zankel Hall recital, Gerstein underlined with purposeful clarity the fecundating power of just a few thematic ideas.

In her first work for the Covent Garden main stage, based on the life of Jacqueline du Pré, choreographer Cathy Marston explores the profound bond between musician and instrument.

A delicious programme from glamour duo Gautier Capuçon and Yuja Wang, reuniting in Franck and Chopin with dynamism and depth – and a killer encore.

The French pianist's approach may be uncomplicated, but crisp articulation, interesting dynamics and a fine sense of shifting moods enliven a recital full of variety.

The Abay Kazakh State Ballet brings two Mikhail Fokine works – Chopiniana and Scheherazade – to the London Coliseum.

Krzysztof Urbański elects an ideal pace and shape for Tchaikovsky's Fourth Symphony in a guest conducting appearance with the National Symphony Orchestra, on an evening also featuring Lise de la Salle playing Chopin.

It is sad that Final Edition will be Richard Alston dance company's final tour, but it is a fantastic production to leave us with.

Making its London debut, the BSFO and Jan Latham-Koenig make an impression in both British and Russian classics. 

Vasily Petrenko opens his penultimate season with RLPO in raucous style.

Chinese American Li, once another purveyor of typically scorching performances, is better known these days for his sensitivity and nuance. 

Jan Lisiecki opens the third weekend of the Riga Jurmala Music Festival at the Dzintari Concert Hall. 

Fine performances of music associated with Queen Victoria, with a royal novelty thrown in to complete a programme marked by commitment and vigour. 

Sparks fly at the Queen's Hall, but it's the gentler arrangements that really impress. 

An evening in which the piano – in some cases two, in others three – took centre-stage with members of the Osokins family.

The fast-rising Italian pianist Beatrice Rana offered a triumph of technique, but her playing lacked much emotional engagement or wit.

The Firebird/A Month in the Country/Symphony in C is an effective and enjoyable programme to close The Royal Ballet's season.

When it was announced from the stage that Gustavo Dudamel would not be conducting due to a "family emergency," the orchestra played for Conducting Fellow Stephen Mulligan as if he were a maestro.

The ending of Stars and Stripesis a sure-fire applause machine. The lowering of the flag while all the regiments march and salute onstage is so corny that only Balanchine could have choreographed it with a straight face. And yet it worked in 1958 and it works in 2019. 

Ulster Orchestra’s Principal Guest Conductor Jac van Steen returns to lead an outstanding evening, culminating in Elgar’s First Symphony. Louis Schwizgebel impresses in Saint-Saens’ Fifth Piano Concerto. 

Pollini's love for Chopin and Debussy was evident throughout an intimate recital as part of the Southbank Centre's in the International Piano Series.

Xiaoxuan Li and Eva Gevorgyan, winners of the 2018 Cleveland International Piano Competition for Young Artists, came back to Cleveland for an evening of virtuosic showpieces.

In which Santtu-Matias Rouvali and the Gothenburg Symphony seek out a contrast with the dark sound colours of Sibelius.

Kansas City Ballet premieres Val Caniparoli and Robert de la Rose's Impressionistic ballet

Where better to start the LPO's exploration of 'British' music in its Isle of Noises festival than with Sir Edward Elgar? 

Nobuyuki Tsujii's debut in the Southbank's International Piano Series proves a mixed success. 

Maurice Ravel met Jean Sibelius at the Royal Festival Hall for a programme to which each composer contributed a waltz, but the musical terrain was anything but a level playing field. 

Seong-Jin Cho's mixture of virtuosic and poetic dispositions, of fierce and restraint temperaments were constantly present during the entire recital.

On top of all his skill and eloquence throughout, Rafał Blechacz still sounded born to play Chopin.

Vasily Petrenko and the RLPO gave a deeply moving performance of Sibelius's Fourth Symphony, following exquisite Peer Gynt and a stylish Beethoven Third Piano Concerto with Beatrice Rana.

Widely thought a pinnacle of 20th century dance, John Neumeier’s “Die Kameliendame” ballet recently celebrated its 100th performance at the Bayerisches Staatsoper in Munich.

A chamber version of Chopin is outshone by Chausson's compositional ingenuity.