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In this unusual combination of works, a complex motet by Judith Weir emphasised brutalism, while a complete ballet score by Ravel sets Apollo against Dionysus. A young Finnish soloist joined her compatriot Oramo for an English Romantic concerto.

Sir Simon Rattle and the LSO open their 2021-22 season with an eclectic mix of British music that sees the orchestra at its most lustrous. 

A compelling BBC Prom exploring lyrical visions of God, infinity, and the natural world – through orchestra, organ and birdsong – that demanded a second hearing.

Who would have thought celebrating a Black Mass could be quite such fun?

A patchy performance by The Chorus of Royal Northern Sinfonia in a concert following the influence of J.S. Bach on later choral composers.

Judith Weir's dramatic new choral work receives a convincing world première from David Hill and the BBC Singers at Southwark Cathedral. 

Judith Weir's music didn't have the pride of place it deserved at this miscellaneous collection of music from past and present Masters of the Queen's Music, presented by the Park Lane Group at the Sam Wanamaker Playhouse. 

Andrew Litton and the BBCSO and the BBC Singers create order out of chaos at the Barbican Hall in a challenging programme including Charles Ives monumental 4th Symphony.

In his Chamber Proms debut, Benjamin Grosvenor explored the waltz from the contrasting perspectives of Ravel and Liszt, with atmospheric interjections from Mompou, and opening with Chopin, together with the world premiere of a new commission by Judith Weir.

Violinist Pekka Kuusisto and Britten Sinfonia succeeded in creating a dynamic and captivating programme at Milton Court, with a series of works conceived as a whole and leading up to Britten's Serenade.

British Youth Opera have been fostering the best of young British vocal talent for 25 years, and it’s a delight to see them celebrating their anniversary this year with a work precisely as old as they are: Judith Weir’s A Night at the Chinese Opera dates from 1987, and made for a lively showcase for these rising stars at London’s Peacock Theatre last night.

There’s usually plenty of hype surrounding a newly written opera performed at Covent Garden, but the carefully placed stories about Judith Weir’s Miss Fortune are on the improbable end of the scale, featuring a flying kebab shop and a team of breakdancers. So I arrived at Miss Fortune without any real idea of what I was going to get.

As you round the corner of Prince Consort Road, you raise your head to catch a glimpse of the tip of the Royal Albert Hall dome. But just as you do…SMACK! You’ve collided with a stranger’s back. Reorienting yourself you realise there’s a queue a mile long, winding down the steps outside the Royal Albert Hall and stretching all the way to bus stop down the road.

As part of their Late Mix programme at the Sage Gateshead, Northern Sinfonia put on a performance of two dramatic chamber works, from either end of the twentieth century. Both works were due to be performed by soprano Claire Booth, but she was replaced by Rebecca-Jane Lea for Judith Weir’s Consolations of Scholarship and by Allison Bell for Schönberg’s Pierrot Lunaire.