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Leonard Slatkin returns to the Prague Symphony Orchestra with one of his own pieces, a Schubert tribute that steals the show.

How to bring off the most romantic work of the last great Romantic composer, all 60 minutes of it? Send for Tugan Sokhiev. 

Another all-Beethoven concert? But was this the Singapore Symphony's best in our writer’s 45 years of concert-going?

With a wild world premiere, the Dvořák’s Prague festival expands its musical palette and heightens its standing.

Bomsori Kim tackles the dangers of Tchaikovsky's concerto, before Ryan Bancroft and the Netherlands Radio Philharmonic hurtle through Rachmaninov's Symphonic Dances. 

French conductor Stéphane Denève leads the Toronto Symphony in an invigorating French-American programme, featuring Canadian star violinist, James Ehnes. 

The Orchestre Philharmonique de Radio France brings a contemporary burnish to the Year of Czech Music with Kryštof Mařatka's new violin concerto, Sanctuaries – In the Depths of Cave Paintings.

Jacob Joyce leads the Pittsburgh Symphony in two Finnish works, both which paint the natural beauty of their composers’ homeland. James Ehnes takes matters a different direction in a work by Bernstein.

Gianandrea Noseda leads glowing performances of Berg and Beethoven, while James Ehnes shines in Korngold's Violin Concerto .

Languid expression in Debussy, exhilarating Tchaikovsky from James Ehnes, and terrifying Prokofiev in a programme of extremes.

Vilde Frang and Bertrand Chamayou join the Belcea Quartet for a musical feast including Chausson's sumptuous Concert. 

“If you enjoy it... we are doing something horribly wrong”... ominous words to launch the Netherlands Philharmonic Orchestra's season finale at the Concertgebouw. 

The Russian violinist displays her love for Brahms' writing before Mihhail Gerts and the National Symphony romp through Strauss' Sinfonia domestica. 

Never mind the cowbells... the Hong Kong Phil delivers a photo-enhanced rendition of An Alpine Symphony at the Cultural Centre. 

Jordan de Souza conducting the BBC Symphony Orchestra fails to set our reviewer's heart racing, but the young Swedish violinist John Dalene most certainly does.

The joy of Maxim Vengerov and Simon Trpčeski playing together was as palpable in Franck's sonata as it was in Prokofiev's.

Powerfully communicated accounts of early 20th century, Gallic-permeated music combining the familiar with the rarely heard. 

Vassily Sinaisky leads the BBC Philharmonic through the murky worlds of Myaskovsky, Rimsky-Korsakov and Szymaowski

Robert Lakatos proved to be an ideal soloist in Korngold's Violin Concerto and Uroš Lajovic conducted a poised, atmospheric Italian Symphony in Belgrade.

It's the beginning of a new era of Singapore Symphony Orchestra history with Hans Graf at the helm offering an impressive performance.

From the trials in love of a libertine, through the death of an angel, to the rise of an emperor, Rustioni takes charge of a rollercoaster evening of emotional turbulence.

Andrey Baranov's stunning performance of Shostakovich's harrowing Violin concerto no. 1 with Daniel Raiskin and the Belgrade Philharmonic overshadowed the other items in the programme.

Špaček subtly illuminated the tough and serious first movement with shafts of light, convincingly sweetened his tone for the lyricism of the intermezzo-like Andante moderato, and gave a dazzling display in the exhilarating finale.

James Ehnes was an ideal soloist in Walton's Violin Concerto, well partnered by John Wilson and the BBC Philharmonic, with atmospheric Bax and a powerful Vaughan Williams 4.

John Wilson oversees a glossy, superficial take on early 20th-century works from England and the USA.

Mixed performances from Poole but with an unforgettable Symphonie fantastique that was both illuminating and electrifying.

The London Philharmonic Orchestra, Vladimir Jurowski and the soloist Ray Chen offer the next instalment in a series showcasing the works of Stravinsky and their historical influences.

How vital is a conductor? At Paris' Salle des concerts – the Philharmonie's second hall – Les Dissonances provided answers. 

In this second Mariinsky concert Kristóf Baráti was a fine but miscast soloist in Stravinsky’s violin concerto, with rich narrative pickings from Rimsky-Korsakov and his illustrious pupil.

Alina Ibragimova plays with skill but insufficient sound to fill the Royal Albert Hall; Vladimir Jurowski and the LPO blow the roof off with Shostakovich's account of the Revolution of 1905.

Neeme Järvi’s authoritative CSO appearance was grounded by two major scores of Sibelius, preceded by a Prokofiev violin concerto with Vadim Gluzman and a rarely heard work of Glazunov.

Bruch’s Violin Concerto bo. 1 had a delicate soloist, but an outspoken orchestra, while Saint-Saëns’ “Organ Symphony” struck all the right notes.

A lively William Tell Overture from Pappano and lyrical Bruch from LSO leader, Roman Simović, preceded a majestic performance of Strauss' Alpine Symphony. 

Sergej Krylov makes a superb case for Andzej Panufnik's Violin Concerto; Søndergard and the LPO disappoint in Sibelius but thrill with Shostakovich's Symphony no. 5.

During the Lucerne Easter Festival, Mariss Jansons conducted the Bavarian Radio Symphony Orchestra and Choir in three highly charged works. 

The artistry of Maxim Vengerov is an uncommon phenomenon: it represents a rare amalgamation of repertoire spanning both traditional and modern, of musical interests firmly single-minded at times but broadly versatile elsewhere.

The BBC Scottish Symphony Orchestra tackle two elusive Sibelius symphonies and a new work by Michael Finnissy in a packed programme at the Proms.

There was something for everyone in Maxim Vengerov and Itamar Golan’s recital programme at the Barbican last night. The music of nine different nations was represented in a multicultural extravaganza of shifting horizons, moods and styles.

The inaugural Bristol Proms are nearly over. Indeed, if you’re reading this any later than Saturday evening, they’ve been and gone. The festival, run by the Bristol Old Vic, has deliberately been unlike its London namesake.

For me, the chamber music concerts at the various City Livery Halls have always been the highlight of the City of London Festival.

The moment the first chord rang out in the Stern Auditorium at Carnegie Hall Monday night, the audience caught their breath. Opening with Felix Mendelssohn’s Violin Sonata in F Major, violinist Joshua Bell and pianist Sam Haywood set the tone for the rest of the evening.Mendelssohn’s Violin Sonata in F Major was performed with a controlled frenzy throughout.

You might think that a programme containing Bach and 20th/21st century composers would suggest an evening of unconnected extremes. Nothing could be further from the truth in the case of Jennifer Koh's Bach and Beyond recital, given in Lennoxlove House, Haddington as part of the Lammermuir Festival.

In this programme packed with Romantic intensity, the Russian Lomeiko-Zhislin duo demonstrated their versatility and ingenuity in crafting a programme of varied instrumental combinations.First they were joined by pianist Katia Skanavi for three pieces by Bruch, whose skill as a miniaturist was reminiscent of Grieg and Dvorak in its persuasive lyricism.

Im ersten ihrer vier Auftritte am diesjährigen Gstaad Menuhin Festival verband sich die Geigerin Julia Fischer, Artist in Residence 2024, mit der Pianistin Yulianna Avdeeva zu einem emotionsgeladenen Duoabend.

Avec l'expérimenté Miguel da Silva, les jeunes solistes de la Chapelle musicale Reine Elisabeth proposent une redécouverte énergique et inspirée des œuvres d'Ysaÿe et Fauré, dont les similarités sont intelligemment soulignées.

Pendant près de trois heures, le prince des violonistes russes s'est livré à une démonstration de charme et d'humilité sans pareille. On s'incline ! 

Maxim Vengerov et Roustem Saïtkoulov ont proposé au public genevois un programme qui, tel un diamant exceptionnel, a été serti somptueusement, offrant un style adéquat à chaque pièce, rehaussant l’éclat du tout d’une musicalité impériale. Toute critique du détail, en reviendrait à perdre la vision d’un tout magistral.