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The Los Angeles Philharmonic under Salonen look back at the dwindling twilight years of the Weimar Republic. 

The Los Angeles Philharmonic under Salonen inaugurates their musical retrospective of Weimar Germany. 

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.

Union Jack isn't a Balanchine masterpiece – it's more of a fun-sterpiece, which is even better.

Leon Botstein and the American Symphony Orchestra's attempt to position Erich Wolfgang Korngold as a midcentury musical force comes up short.

British cellist Laura van der Heijden proved herself to be the sister of soul on the cello for the second night in succession.

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

This program illustrates the difficulties of a dance company attempting to forge a path forward without the towering vision and talent of its founder.

Korngold's Violin Concerto from Simone Lamsma is delivered with extraordinary deftness and depth, while Rachmaninov's Symphonic Dances thrill under Yan Pascal Tortelier and the Pittsburgh Symphony.

Lamsma is not a household name here in America but her deep sense of commitment may well make her one.

On reaching the second instalment of his Brahms cycle, Vasily Petrenko brings a fresh breath of alpine air to Liverpool, while George Li impresses in Rachmaninov’s ever popular Second Piano Concerto.

The in-house orchestra played out of its skin under Fabio Luisi.

Judging by this show, New York City Ballet is doing fine in the aftermath of Peter Martins’s departure.

Musiktheater im Revier Gelsenkirchen's new production of Hindemith's meditation on art and politics, Mathis der Maler, draws upon the Ruhr's modern art legacy.

Norwegian soprano Lise Davidsen’s Proms debut was just one highlight in a rewarding programme of Nordic and German music.

Waltzes and Turkish folk dances energise spirited piano duet recital

A sombre programme of four substantial works, part of the LPOs series of concert Belief and Beyond Belief nevertheless had something of showbusiness about it, thanks to the charismatic presence of John Mauceri. 

I cannot sufficiently repeat that Peter Martins’ legacy will be measured by the number of outstanding dancers he has nurtured during his tenure.

Hindemith's opera, based on the life and theories of Johannes Kepler, is impressively realised by the Landestheater

On the second leg of its current European tour, the Chicago Symphony Orchestra and Riccardo Muti fail to scale the heights in an acoustically problematic venue.

A firecracker performance by Vladimir Jurowski and the Rundfunk Sinfonieorchester Berlin giving urgency to music composed at a time that echoes our own.

On Friday evening, the first snow cast its veil over my hometown. Despite the frost, Olli Mustonen’s concert at the Turku Concert Hall got people on the move.

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.

Pinchas Zukerman celebrated the 45th anniversary of his Cleveland Orchestra debut with Mozart’s “Turkish” concerto.

Miriam Miller is the latest ballerina to stand out from the crowded field at City Ballet and she may well be the best at such a young age since Sara Mearns. 

Spanish conductor Jesús López Cobos’ debut appearance with the BBC Philharmonic produced some wonderful results with a thoughtful and widely-varying programme of twentieth century music.

Dance, when fulfilled by such artistry as seen this evening, requires no embellishment. 

An exciting rendition of Brahms Second Piano Concerto in the first half was offset by a less than engaging rendition of Hindemith's Symphony: Mathias der Maler in the second. 

Familiar works of Mozart and Beethoven were paired with pieces by Hindemith and Prokofiev for an eclectic program. 

Baritone Jaakko Koretkangas and pianist Nino Gvetadze prove the stars of an evening of great variety ending with a thrilling scene from an obscure Hindemith opera.

Cardillac has a spooky, sinister fascination that both intrigues and horrifies and which is quite successfully expressed in this striking production by Sven-Eric Bechtolf.

At the Estonian National Opera, Vilppu Kiljunen's staging of Hindemith's crime opera Cardillac is wonderfully eerie. Unfortunately, conductor Vello Pähn's reading of the score doesn't do it justice.

Dvořák’s “New World” Symphony and Hindemith’s Konzertmusik round out a very satisfying concert.

Zurich Ballet performs works by three of the twentieth-century's most foregrounding choreographers: Balanchine, Van Manen and Kylián

In the post-Wendy Whelan season, it’s Ashley Bouder’s New York City Ballet.

San Francisco Ballet's Program 7 features Tomasson's Caprice, Balanchine's The Four Temperaments and a new creation, Swimmer, by Yuri Possokhov.

Hans Graf conducts the Houston Sympony and proves even a line-up of symphonic favorites can be foiled by a tepid tempo.

A short one-hour concert of chamber wind instrument music placed itself neatly tucked away in The Lantern at the Colston Hall as part of the returned Tuesday Lunchtime Concert Series.

A truly revolutionary music director, Leon Botstein programmed Hindemith's opera The Long Christmas Dinner alongside a full, staged version of Thorton Wilder's one-act play.

Lively performances Beethoven’s First and Second Symphonies demonstrating that composer’s compositional development, plus Hindemith’s colorful Symphonic Metamorphosis, made for an enjoyable evening at Severance Hall. 

Sixty years after his debut with the Swedish Royal Philharmonic Orchestra, 87 year old Herbert Blomstedt conducted the orchestra in the very same programme in a sold out Stockholm Concert Hall. 

How lucky I am to live in a city where I can head over to Lincoln Center and catch an entire evening’s worth of Balanchine ballets, performed by the stellar artists that make up New York City Ballet. This gift is not lost on me; I may be becoming a jaded New Yorker, occasionally cynical and impressed by little, but I feel quite a thrill attending the ballet.

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.

You might not think that a conductor nearing his 80th birthday and leading an orchestra from a swivel chair would be as effective as a conductor in full health, but you would be wrong.

The string nonet Collectif 9 offers its public something truly as valuable as it is rare: classical repertoire “revisited with passion and fearlessness”. They are a group of very young and fiercely talented string players, many of whom play in the city’s professional orchestras.

It was an auspicious debut; a collaboration that, in time, would propel both orchestra and conductor to the very summit of the classical music world. On the stage of the old Philharmonic Hall in Downtown stepped a 24-year-old conductor at the very beginning of his world career.

Although Berlioz’s Symphonie Fantastique was the headline work for the September 27th Cleveland Orchestra concert at Severance Hall, the big news was principal oboist Frank Rosenwein’s personal triumph as soloist in Richard Strauss’ 1946 Oboe Concerto, with music director Franz Welser-Möst conducting.

It was a night that didn't augur well for those Hollywood Bowl patrons seeking the usual symphonic serenade under starlight. Los Angeles, on Thursday night, was seized by a sudden heat wave that was accompanied with stifling humidity more fitting for Manila or Saigon than the Hollywood Hills.

This season New York City Ballet unveiled two entirely new ballets by choreographers Peter Martins and Benjamin Millepied. Both world premieres took place during the NYCB’s spring gala earlier this month and were reprised Tuesday night for an eager, if not as impressively dressed, audience.Martins’ Mes oiseaux (“My Birds”), first of the night, included some interesting choices.