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John Williams' new concerto evokes the spirit of jazz virtuosos, paying tribute to Art Tatum, Bill Evans and Oscar Peterson. 

Yo-Yo Ma, Emmanuel Ax and Leonidas Kavakos hold a sold-out Royal Albert Hall to rapt attention for some astonishing chamber music. 

Fabio Luisi and the Dallas Symphony Orchestra continue their European tour, dropping anchor in Hamburg for Tchaikovsky's Fifth Symphony and a John Williams concerto written for the star German violinist. 

Gabriela Oritz' Altar de cuerda shows off Maria Dueñas' technical dazzle, her incomparable theatrical timing and her ability to completely commit to the music she is playing. 

John Williams' Violin Concerto composed for Anne-Sophie Mutter misses the mark in the LPO's night at the movies. 

Richard Farnes conducts Andrew Gourlay's symphonic suite drawn from Wagner's Parsifal as the Symphony Orchestra of India returns to Cadogan Hall. 

David Danzmayr delivers epic storytelling in Sibelius' First Symphony, while soprano Christine Goerke heightens the drama with powerful Barber and Menotti heroines.

Music from different genres, for the big and small screens, sit side by side in an evening of music that ignites and enchants the imagination. 

With the audience increasingly familiar with John Williams' Second Violin Concerto, its architecture and emotion become much clearer than at its 2021 premiere.

Looking at its past, its present and its future, the Boston Symphony returns to Symphony Hall after the Covid hiatus. 

Ravel’s L’enfant et les sortilèges made up for an uneven first half that jumped from Mozart to Harry Potter.

A dashing, captivating concert, lacking only a few mood-changers to stimulate the audience’s eager receptors.

The Vancouver Symphony performs with penetrating insight from Itzhak Perlman.

Superstar husband-and-wife team, renowned violinist Vadim Repin and "tsarina of the dance" Svetlana Zakharova, go on a date and take us with them. The music fared much better than the ballet.

In a passage through filmic history in the search of monstors and heroes, the Bournemouth Symphony Orchestra explored contemporary film and game music.

The Belgrade Philhamonic presented a magical concert of music on supernatural themes.   

The John Williams Prom was not just a celebration of his work but a veritable blockbuster.

A new score by Melinda Wagner, concertante pieces for saxophone and orchestra with Branford Marsalis, and works of Bizet and Debussy comprised Susanna Mälkki’s CSO program, intriguing in its eclecticism.

A recital from one of the world's most celebrated violinists took the audience on a tour of periods in classical music. 

The Royal Philharmonic Orchestra presented a space-themed concert in an exciting evening’s programme of many well-known pieces rolled into a couple of hours.

Virtuosic playing from the LSO under the decisive leadership of Marin Alsop enlivened the divergent soundscapes of Bartók, Korngold and Rachmaninov. 

The Uzunstein Chamber Orchestra's tribute to the ANZAC's combines the intriguing and diappointing in equal measure.

The BSO seamlessly jumped between all-out dramatic terror, soppy love and adventure in an eclectic mix of 21 pieces of "heroic" film and video game music from the past five decades. 

This was the first time I've been to a concert with a 10:30 kick-off, but then this was the first of its kind. Nor did the inaugural Sport Prom turn out to be merely a game of two halves...

The Winspear Opera House in Dallas hosted violinist Itzhak Perlman for the penultimate performance on this season’s recital series, performing sonatas by Beethoven, Franck and Debussy. 

For whatever reason, performers have always seemed to fear the fourth wall. They are content to let their music speak for itself, and any attempt to address the audience verbally is often considered lowbrow. This makes sense in some regards, as it facilitates the image of performer as master and lends artistic integrity to the music.

Hot on the heels of this year’s Hollywood Rhapsody Prom came its less glamorous, perhaps geekier sibling, the Film Music Prom. There was less of the fanfare and opulence here; this was about the silver screen (and by that, I don’t mean the sort that is coming back into use for 3D films) and sci-fi.

The Cleveland Orchestra’s Sunday evening concert at the Blossom Music Center seemed like a mishmash on the printed page, but it turned out to be a perfect summer evening: an all-American program with great tunes (selections from Gershwin’s Porgy and Bess featuring three excellent soloists and the Blossom Festival Chorus), not too intellectually challenging (a fanfare by John Williams and excerpts

Chamber Music International kicked off its 27th concert season on Saturday evening at Southern Methodist University. The centerpiece of the program was John Williams’ Quartet La Jolla, and the other works all used various combinations of these instruments.

The Last Night of the Proms isn’t really a concert at all; it’s two very different concerts put on one after the other. The first is something like what we’re used to from a Prom, with big-name soloists performing alongside the BBC Symphony Orchestra and the BBC Symphony Chorus in world premières and classic works from the repertoire.

La Simfònica del Vallés presentó un atractivo concierto multidisplinar a partir de bandas sonoras de algunos de las más familiares westerns bajo la atenta batuta de Víctor Pablo Pérez.

El que fuera titular de la Orquesta Sinfónica de Tenerife durante un largo periodo se pone al frente del conjunto con un ecléctico programa.

Zehn Jahre liegt die letzte Europa-Tournee des texanischen Orchesters zurück. In Frankfurt begeistern sie mit einem vielfältigen Programm unterstützt von der Stargeigerin Anne-Sophie Mutter

Andris Nelsons und Anne-Sophie Mutter sorgen bei den Salzburger Festspielen für einen gewaltigen Klangrausch.

La violinista Anne-Sophie Mutter, leyenda viva del violín, respaldada por la Orquesta Nacional de España, reflejó una maravillosa comunión con la música de Brahms.

Kinoatmosphäre im symphonischen Konzert gab es beim dritten Schlossparkkonzert in Heidelberg.

En musique comme dans tout langage, un certain tropisme opère, avec son lot de lieux communs rassurants. On attend d’une formation américaine une certaine fraîcheur, et d’un chef vénézuélien, une chaleur trop souvent absente sous un climat tempéré. Il n’y a pas eu tromperie sur la marchandise. Gustavo Dudamel et le Los Angeles Philharmonic nous ont offert tout cela.