Gianandrea Noseda conducts the Royal Concertgebouw Orchestra, the Netherlands Radio Choir and an ideal team of soloists in a memorable performance of Britten's War Requiem.
It was especially effective to hear the line “One ever hangs where shelled roads part” with the vast hanging crucifix with its portrait of Christ dominating the scene behind.
Britten's profoundly pacifist work is given a calm reading by Peter Oundjian and the RSNO: soprano Erin Wall, the RSNO Junior Chorus and the wind players provide the high spots of the evening.
An intriguing programme of Britten, Walton, Barber and Copland provided dynamism, evocative imagery and new discoveries in Juanjo Mena’s valedictory concert with the BBC Philharmonic.
Under the baton of John Storgårds, Vilde Frang made her Cleveland Orchestra debut in Britten's Violin Concerto, with works of Antheil and Schumann rounding out a diverse selection.
Oper Frankfurt's revival of Richard Jones's production of Billy Budd with a homegrown cast is a devastating combination of powerful music and searing drama.
Ivor Bolton and David McVicar have teamed up to create an unapologetically Brittenian Gloriana, with Anna Caterina Antonacci at the top of a great cast
Uncertain Britten from Dausgaard and the RPO, but intense and passionate Elgar from Isserlis, and powerfully engaging Rachmaninov featuring exceptional woodwind playing from the RPO.
Julius Drake, Krzysztof Chorzelski and Mark Padmore contributed their notable gifts of piano, viola and voice respectively in a very special, often heartfelt fundraising evening for two music education charities.
In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.
As a whole, this American Ballet Theatre program was good but the presence of Hee Seo and David Hallberg in Jerome Robbins' Other Dances made it indelible.
It was another evening staring into the abyss courtesy of the London Symphony Orchestra, with Britten's Violin Concerto paired with Mahler's Fifth Symphony.
Delivering winsome interpretations along with precision ensemble, the "conductorless" SPCO presents two youthful Schubert and Britten masterpieces that were created by their composers in mere days.
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.
Side by side, the combined forces of the RSNO and the Mariinsky under Gergiev recall the Western première of Shostakovich Fourth symphony at the 1962 Edinburgh Festival.
Stuart Skelton’s visceral Peter Grimes is matched by a strong cast with thrilling playing and singing from the Bergen Philharmonic Orchestra under Edward Gardner.
Affecting Britten, distinctive Elias and popular Elgar, with a curio of arranged Purcell thrown in, from Ryan Wigglesworth and the BBC National Orchestra of Wales.
Dame Sarah Connolly and Julius Drake savour the al fresco surrounds of the Villa Foce to produce a delightful evening of eclectic music in four languages. Delizioso!
BalletNOW returns to the Glorya Kaufman Presents Dance at the Music Center in Los Angeles. The production features dancers from six different major ballet companies, but fails to impress.
Peter Nardone directs the Three Choirs Festival Chorus and Philharmonia Orchestra in a problematic yet thought-provoking opening concert at Worcester Cathedral.
A period-perfect Albert Herring from Francis Matthews for Buxton International Festival takes time to settle into its stride, but provides plenty of laughs along the way.
Oregon Ballet Theater closed its season with the first instalment of a new program in support of emerging female choreographers. New work by Helen Simoneau and Gioconda Barbuto made a particularly striking impression.
With a combined age of 161 years, John Copley and Steuart Bedford certainly bring ample experience to Grange Festival's new production of Britten's Albert Herring.
Netia Jones' new production taps into Britten's silvery underworld in a staging dominated by video wizardry which is hypnotically beautiful, but comes at a price.
The Comunale had teamed up with Bologna's basketball team Virtus to create a 50%-off ticket deal aimed at drawing new audiences. The subject matter of this opera might not seem the most immediately accessible, but this was playing to capture the imaginations of opera newbies.
