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Rodolfo Barráez conducts two Mozart symphonies and Singapore Symphony principal clarinettist Ma Yue plays a rarely heard concerto by Gerald Finzi. 

ETO kicks off its spring season with What Dreams May Come, a strange and moving staging of songs inspired by William Shakespeare.

Elizabeth Watts gives an unforgettably powerful performance of Finzi’s Dies Natalis in an otherwise problematic concert, marred by Adrian Partington’s uncertain approach.

With Advent in full swing, and as 2021 draws to a close, it is comforting to be reminded of seasonal rituals expressed through the power of music: Sibelius, Finzi and Britten with BBC SO forces under Oramo.

Adrian Wilson and Ensemble 360 perform three gems of English chamber repertoire, with flowing romanticism in Bowen, warm introspection in Finzi, and enthusiastic spirit in Bax. 

If Chest is not yet the finished article, he’s damned close.

Two works of personal victory, written at virtually the same point in history and against a backdrop of suffering, made up this very successful concert conducted by Sir Andrew Davis. 

A superb start to the Britten Sinfonia's Brahms cycle.

Shakespeare songs turned out to be more of a Shakespeare feast starring Antonio Pappano, Ian Bostridge and the exceptional Eve Best.

The BBC Concert Orchestra and Keith Lockhart offered a snapshot of the Bard's lasting artistic impact with music for composed for stage and screen, from this side of the Atlantic and beyond the pond.

Vaughan Williams and Finzi given the Philharmonia treatment with John Wilson at the helm at the Royal Festival Hall.

An unusual programme of music from the Bournemouth Symphony Orchestra, viewing the passing of youth through a lens of nostalgia and sadness but, at the same time, also dreaming of the sheer joy and exuberance of youth.

Seven works by English composers created a journey from beauty to death as Remembrance day approaches. There wasn't much dwelling on the horrors of war itself, but plenty of human emotion and a sense of life sadly lost.

As Autumn sets in, the City of London Sinfonia give us a final taste of Midsummer in a charming and diverse concert. 

Those few seconds of breathless silence at the end of a recital before thunderous applause are a rare thing, and a sure sign that the evening has been a success. Such was the case at the Wigmore Hall on Wednesday night after Roderick Williams and Gary Matthewman were called back to the stage for a second encore.

Matching ties. Sharp suits. As they strode onto Cadogan Hall's stage, New York Polyphony were already living up to their image, one hand-tailored to New York's intellectual, social-media savvy hipsters. It wasn't long before they proved that style went hand-in-hand with substance, in a programme outstanding in vocalism and musicality.

Fragiles et assez peu inspirés dans la mélodie française, Mark Padmore et Simon Lepper se révèlent pleinement dans le répertoire anglais et américain.