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Calixto Bieito's surreal production of Erwin Schulhoff's forgotten opera takes the audience to the heart of darkness.

John Storgårds' annual SCO concert features the brilliant trumpeter bringing to life concertos old and new.

In a typically ambitious programme, Vladimir Jurowski and the London Philharmonic Orchestra explored how four Czech composers responded to imprisonment, exile and renewal.

Conductor Tomáš Netopil combines the best of two worlds at the Dvořákʼs Prague festival.

Barry Humphries’ Weimar Cabaret – a witty, urbane valentine to the musical culture of Germany in the 1920s and 30s, from the opera house to the concert hall to Berlin’s revues and cabarets.

Friday’s concert served as an interesting showcase of music that, undeservedly, isn’t performed too often. Even though the performances were somewhat lacking, the quality of the music shone through.

When one sees the word “Erotica” in connection with classical music, one is usually safe in assuming that it’s a misprint in the title of Beethoven’s Third Symphony. And yet, at the Australian Chamber Orchestra’s concert on Saturday, it was no Freudian slip: Erwin Schulhoff’s Sonata Erotica, which the composer suggestively marked “nur für Herren” (for men only), was on the program.

Through its 24th season, the Amici Ensemble has stretched the limits of music; pairing its inspiration with food and fashion. In their 2011/2012 season finale performance, they incorporated artist Lavinia I. Voicu into the concert, having her paint live to the music. Much like her paintings, which were on display in the lobby, the musical programme was abstract and diverse.

Dans un one woman show décapant qui alterne pièces de musique contemporaine, sketchs comico-réflexifs et moments participatifs, la soprano suscite autant de rires que d'admiration.

McFaddens ergreifend schöne Melodieführung und Melnikovs schimmernde Klavierfarben machten den Konzertabend zu einem unvergesslichen Hörerlebnis.

Les Jérusalem marient virtuosité et dérision, entre Schulhoff et Korngold. Fausse diva de cabaret, la soprano Hila Baggio les accompagne avec humour sur la musique de Desyatnikov.

Musik sagt mehr als tausend Worte, aber kann sie Menschen auch zu Einsichten verhelfen? Christoph Marthalers Inszenierung ist an Urängste appellierender Hässlichkeit kaum zu überbieten.