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.
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.
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.
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 Concertowith 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 mixed bag from three titans of twentieth century ballet. of which Les Patineurs stands the test of time, best of all; the perfect winter dream: one that comes in a snooze after mulled wine in front of a roaring log fire.
By using Schumann’s Novelletten to draw a broad dramaturgical bow over the whole evening, Martin Helmchen stands on his own as a bold and highly creative pianist.
The European Union Youth Orchestra confirms its exceptional quality in Zubel and Tchaikovsky. In Chopin, Seong-Jin Cho shows why he is a rising star of distinction.
In a passionate and evocative programme, South Korean pianist Seong-Jin Cho shows that his interpretive skills can start to blossom beyond mere technical prowess.
When de Luz reached down and laid his hand on the floor in the final Nocturne, it suggested to me that, on this night and with these dancers, the stage was sacred ground.
With plenty of sparkle and spritz, Pollini laces his performances of Schumann and Chopin with intimacy and introspection in a programme of contrasting emotions.
With a pianist of the calibre of Jan Lisiecki, Krzysztof Urbański has created an award winning collaboration which puts the two Poles way apart from many other soloist-conductor combinations.
San Francisco Ballet gives a rousing account of Justin Peck's ground-breaking Rodeo, newcomers Ana Sophia Scheller and Ulrik Birkkjær make waves, and Carlo DiLanno wins my vote for MVP at this season's gala.
Ukrainian pianist Anna Fedorova gave compelling performances of Chopin’s profound Ballades and intricate Waltzes, full of intensity, dreaminess and frenzy.
An intriguing concert performed on three pianos from different eras which revealed how composers responded to the piano technology available to them at the time.
The Faust Symphony formed the bloated climax of a demonic date with the Grim Reaper, who loomed large over Sir Antonio Pappano's “Total Liszt” programme with the LSO.
Waltzing on a Monday evening? Wigmore Hall is not exactly the Tower Ballroom, but last night it did a fair impression as a temple of dance when Philippe Cassard played the third of his Debussy Perspectives series.
After Jan Lisiecki gave an immaculate interpretation of a perennial Mozart piano concerto, Sebastian Weigle revelled in the brassy bravura of a symphony which remains virtually unknown in the city where it was composed over a hundred years ago.
As a whole, this American Ballet Theatre program was good but the presence of Hee Seo and David Hallberg in Jerome Robbins' Other Dances made it indelible.
The pianist performed a motley plethora of pieces that included his own recent work. Every interpretation was hand-dipped in a particular aesthetic; oftentimes to perfect taste, and oftentimes a little too much.
Russian pianist Pavel Kolesnikov gave a refined and intimate performance of works by Fryderyk Chopin in the penultimate Chamber Prom of the 2017 season.
Four years ago, the ACO mounted The Reef. Mountain is clearly its successor: another film project involving scenes of nature peopled by extreme-sports enthusiasts, screened while an eclectic soundtrack is played live by the orchestra.
The complex world of Górecki, Bacewicz and Cytż is contrasted with Dvořák and Chopin as The Scottish Ensemble embarked upon an Eastern European journey with guest director Bartosz Woroch.
