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In three hugely different musical voices, John Storgårds with the BBC Philharmonic Orchestra move from the intimacy of Ives to the exhilaration of Adams, taking in Beethoven on their way. 

Something old, something new, lots of things borrowed – Craig Ogden’s Sheffield recital has something for everyone. 

Criss-crossing and climbed the narrow streets of Balat, the “Music Route” takes in some of the city's hidden gems for intimate chamber recitals. 

In a world where the interpretations of various pianists become indistinguishable, Debargue displays character in a recital which includes two towering, lyricism-imbued expressions of virtuosity. 

The Singapore International Piano Festival returns with an impressive show of keyboard mastery by the Argentinian pianist.

NYCB has always had a mission to present new works and Saturday's program included Amaria, a creation by Mauro Bigonzetti for retiring ballerina Maria Kowroski.

As part of Wigmore Hall's autumn series, German pianist Elisabeth Brauß performed works of three centuries with maturity, elegance, and finesse.

A marvelous musician, Mikhail Pletnev, conveyed a fresh perspective on the inner works of Rachmaninov's Second Piano Concerto. 

Few other pianists have Argerich’s naturalness, her ability to epitomize the essence of music rather than interpret it. 

Maurice Steger brought this essential but under-represented instrument from Renaissance and Baroque chamber and ensumble music to a mainstream concert hall. 

A recital programme that at first looked a little random was more than justified in performance

A recital of incomparable but unrelated works became a lengthy attempt to adapt tempi.

Franziska Gottwald's superb mezzo voice and technique combined with dedicated commitment to text makes for a satisfying concert at Rosdorf near Göttingen during the Handel festival

Contemporary Dance comes to The Lowry with a triple bill: An Italian in Madrid, Tangent, and Chacony. From Naples to Madrid; South America to Britain, a diverse, musical programme.

Resident choreographer Yuri Possokhov’s Optimistic Tragedy is dedicated “to those who sacrificed their lives for future generations.” 

A Liszt tone poem, a Prokofiev piano concerto, and a Dvořák symphony made for a high-octane CSO program with conductor Emmanuel Krivine and pianist Denis Kozhukhin.

BRB delivers in a production of jolly moods, bawdy humour and great emotions.

A vast world of movement rose in celebration of the body’s athleticism and its subtle connection to emotions and personality. 

The latest bill from the Richard Alston Dance Company shows its leader as a consummate teacher: studied, scholarly, thoughtful.

Angela Hewitt: formidable de Falla and sensual Albéniz made up for overwrought Scarlatti at the Royal Northern College of Music.   

Kozhukhin stamped his authority and musicality on this lunchtime recital from the opening notes of the Haydn Sonata to the final fleeting phrase of his second encore.

Core repertoire from across nearly two centuries formed the basis of a recital programme that forged a link from Bach to Ravel.

Gergiev and the LSO in an explosive, primeval Rite of Spring.

If we consider Domenico Scarlatti an honorary Spaniard, since half of his life was spent there, then this was an entirely Spanish programme. 

Angela Hewitt's Spanish Lanscapes offered perfect summer fare delivered with flawless execution.

Antonii Baryshevskyi, winner of the Arthur Rubenstein Compeition, made an impressive Wigmore Hall debut in a performance which combined pristine technical facility and consummate musicality in a challenging and highly varied programme.

Soon to retire principal ballerinas, Julie Kent and Xiomara Reyes, delivered poignant performances in Alexei Ratmansky's Seven Sonatas along with poetic dancing by Joseph Gorak. Other standouts included solist Devon Teuscher in the Raymonda Divertissements and James Whiteside in Fancy Free.

Laurence Cummings and Royal Northern Sinfonia present Bach's musical world in miniature in a programme of chamber music by Bach and his contemporaries.

In Montreal Richard Turp discovers a modern-day Pied Piper of Hamelin, Maurice Steger in music of 18th century Naples accompanied by Les Violons du Roy 

It has been five years since mezzo Joyce DiDonato last sang in Amsterdam. In those five years, she won an Emmy Award, headed the cast of countless productions at the Met and Covent Garden, and has been recognized as one of the greatest opera singers of our time by the press and aficionados alike.

It is rare to be at a concert where one is utterly captivated from the first note until the very last has faded to silence, but such was the effect of Russian pianist Yevgeny Sudbin on a packed Wigmore Hall at his lunchtime recital of works by Scarlatti, Chopin, Liszt, Scriabin and Saint-Saëns.

When on Sunday afternoon Joyce DiDonato came onstage at Carnegie Hall, the savvy New York audience gave her a truly royal reception by welcoming her with a long ovation. Such a reaction from the audience was hardly surprising.

The stage was set at (Le) Poisson Rouge: a royal blue curtain and a brilliant red light contrasted nicely with the shine of the black and white piano. Simple yet bold, the stage was akin to a Mondrian painting. And as Scarlatti’s notes rolled off Alexandre Tharaud’s fingers, this striking visual matched the crisp performance perfectly.

The American Ballet Theatre return to the stage of Sadler’s Wells this week with two mixed programmes of 20th and 21st century ballet. The first programme, of four one act pieces, explores the relationship between music and dance, beginning and ending with a UK premiere.Seven Sonatas choreographed by Alexei Ratmansky, ABT’s artist in residence and former Bolshoi director, opens the programme.

Dans un récital d'apparence décousu (mais d'apparence seulement), le pianiste semble élargir les possibilités expressives de son instrument, clouant sur place l'auditoire.

Dans le cadre de son festival de l'Offrande Musicale, David Fray propose un récital original à travers les époques où le piano se fait le relai du clavecin comme de l'orchestre.

Beim 1685-Programm schien die Zeit im Moment der Aufführung still zu stehen, derart gefangen nahm Pichons energiegetriebene, einbläuende Interpretation.

Dans un récital intelligemment construit, associant Scarlatti et Ravel puis Schubert et Chopin, le pianiste a montré l'étendue de ses qualités digitales mais l'ensemble a manqué de poésie et de cohérence.

Emmanuelle Haïm y Le Concert d'Astrée ofrecieron una interpretación rigurosa, rica de detalles y cuajada de gestos de buen hacer de un programa a medio camino entre la hondura religiosa y la humanidad del barroco italiano.

François Dumont, Shani Diluka, Éric Le Sage, Juliette Journaux et Vincent Mussat se sont succédé sur la scène de Radio France pour un marathon riche et contrasté.

En duo avec un David Fray excellent pour chercher le théâtre à chaque coin de note, la mezzo-soprano a proposé un récital d'exception dans un programme foisonnant, entre classicisme et bel canto.

Artiste en résidence de cette 69e édition du Gstaad Menuhin Festival, le pianiste et compositeur a livré un récital authentique, peu académique mais tout à fait passionnant.

Dans un récital qui va de Scarlatti à Prokofiev en passant par Beethoven et Ravel, le pianiste éblouit par son jeu transparent, mais l'absence d'élan, d'incarnation laisse l'auditeur sur sa faim.

Après Haydn et Schubert interprétés avec une simplicité et un naturel émouvants, le pianiste allemand a époustouflé en associant de manière étonnante mais ô combien convaincante Couperin et Poulenc.

Jorge Jiménez dirigió con carisma un programa original y estimulante junto a los integrantes de Tercia Realidad.

Sería necesariamente destacable la alegría intrínseca que se experimentaba como consecuencia de percibir una evidente conexión de la pianista con su repertorio y con el público

Dans le cadre des « 13 du 13 » programmés par Rodolphe Bruneau-Boulmier, Paolo Zanzu et Anna Reinhold confirment les lignes de forces d’un style à la fois historiquement informé et intensément original.

L'Ensemble vocal Sequenza 9.3 et Catherine Simonpietri offrent au public rémois un intéressant programme venant faire dialoguer musique baroque et contemporaine dans le magnifique cadre du Palais du Tau. 

Retour sur un récital 100% Scarlatti inventif et vivifiant, malgré un bruit de fond nuisible...