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Song cycles by Ralph Vaughan Williams and Ernest Chausson are paired at the Barbican.

Violinist Anna Tifu and the Tekfen Philharmonic join together for a richly played Poème before Aziz Shokhakimov conducts Brahms' First Symphony.

An evening of “French Beauties and Swedish Beasts” from the Swedish clarinettist, demonstrating phenomenal tone and dare-devil risk-taking. 

In music by Janaček and Dvořák, Kožená seemed to just enjoy the freedom to perform in her native idiom. 

What a day to hear an all-French programme, and with this fragile moment at its heart criticism feels futile, disrespectful even.

A chamber version of Chopin is outshone by Chausson's compositional ingenuity.

Nézet-Séguin leads Philadelphians and Joyce DiDonato in superb performances of Wagner, Bates, Chausson and Respighi.

Here was singing and playing to live long in the memory.

Mary Bevan’s bewitching soprano is the star of a glorious programme of music by Ravel and his contemporaries.

In the last week, the LPO has been on a journey through the seasons. Tonight, it was mists and mellow fruitfulness, courtesy of rarities by Respighi and Marx.

Space-Age Ballet Frontier premiered to honour JFK. 

Soprano Elizabeth Watts brought tonal richness and energy to an evening of French song with texts by Théophile Gautier, but her expressive arsenal was diminished by a bout of flu.

The Garth Newel Piano Quartet presented a "French Feast" of delectable chamber works by Ravel, Chausson and Florent Schmitt that was a gastronomical as well as musical triumph.

Mezzo-soprano Marie-Nicole Lemieux made her Cleveland Orchestra debut in a passionate performance of Chausson’s Poème de l’amour et de la mer.

Paris in the springtime: cold winds, driving rain and even a flurry of snow. Tonight, courtesy of Debussy’s Printemps, something a little more seasonal raised the temperature.

Attention to delivery, effective interpretation and intelligent programming is what make the duo such a consistently beloved force in concert.

Released from the Covent Garden pit, the Orchestra of the Royal Opera House enjoyed its moment on the stage, breathing in the sea breezes of Ravel and Chausson, strutting its stuff in Bernstein and basking in shimmering Scriabin.

Sakari Oramo takes the reins for his first Last Night of the Proms, alongside dazzling violinist Janine Jansen and the BBC Symphony Orchestra.

If you sing like an angel, might as well look like one. Philippe Jaroussky, considered one of the world’s finest countertenors, came onto the stage in Hohenems, Austria last Saturday evening with the demeanor of a celestial being...

Michel Plasson returns to l'Orchestre symphonique de Montréal in a program of French music and Karina Gauvin resplendent in Britten's Les Illuminations. It was an object lesson in how to capture the essential essence of French music. 

There are musical moments that lift you up into a jet stream you ride till your feet are on the pavement again. Last evening in Koerner Hall was a flow of such moments as the Amici Chamber Ensemble celebrated their first set of twenty-five musical years.

On Sunday afternoon, Glenn Gould Studio became host to a professional photo-shoot as well as the Amici Ensemble’s feature concert, “Fashionista: Fashion as Art.” The unique theme featured elegant gowns by Rosemarie Umetsu, demonstrating what one can draw and create from such elaborate musical selections. First on the programme was Galina Ustvolskaya’s Trio for Violin, Clarinet, and Piano.

American Ballet Theatre’s second programme at Sadler’s Wells transports us across the globe and through time beginning with a visit to the 19th century Russian Imperial Court and ending in wartime America. This is a mixed experience in more ways than one. Things get off to a tentative start with Balanchine’s Theme and Variations.

The intimate setting of the Wigmore Hall provided the ideal platform for mezzo-soprano Christianne Stotijn’s sensitive performance of songs by Faure, Chausson and Schumann. Her voice flowed apparently effortlessly through this varied repertoire, connecting powerfully with the audience.

Un dimanche matin au Théâtre des Champs-Élysées et un concert d'anthologie, porté par l'alto de Lise Berthaud, le piano d'Adam Laloum, la voix de Lucile Richardot, le violon de Pierre Fouchenneret...

Daniel Hope gedenkt der Epoche mit einem vielfältigen Programm von Massenet bis Schönberg.

Le Club musical de Québec a offert une exaltante ouverture de saison avec un récital Baudelaire mettant en vedette la contralto chérie des Québécois Marie-Nicole Lemieux et le comédien chevronné Raymond Cloutier. 

Deuxième concert-hommage à Eugène Ysaÿe, à l'Auditorium du Louvre, par la Chapelle musicale Reine Elisabeth : le Quatuor Hermès émerveille dans Ravel, Elina Bukša peine à prendre son envol dans Chausson.

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 ! 

Marie-Nicole Lemieux, contralto pléthorique offre un récital jubilatoire soutenu par un Roger Vignoles royal ; malheureusement la truculence déjà légendaire de la cantatrice semble bien mal adaptée à l’exercice du récital.

La Comédie française, la littérature et la philosophie unissent leurs forces avec celles de la musique pour une lecture et un concert franco-russe qui resteront dans les mémoires.

On attendait beaucoup de cette production du Roi Arthus de Chausson à l'Opéra de Paris mais force est de reconnaître que cette redécouverte ne fut qu’un demi-succès ou plutôt même un demi-échec.

C’est avec un silence fébrile et une concentration palpable que le public du Théâtre des Champs-Élysées a accompagné ce récital consacré à Verlaine.