With an old swing tune, a retrofitted Ligeti piece, a Syrian wedding and a Vivaldi sinfonia, the Knights mixed old and new without quite blending the two.
Pekka Kuusisto’s direction of the Scottish Chamber Orchestra is playful, creative and joyous in a mixed programme from Biber to Bartók, Haydn to Messiaen wrapped round with Ravel.
Works by Rolf Liebermann, Mozart and Mahler recently brought down the house at Zurich’s Tonhalle Maag, in no small part because of Martin Fröst’s illuminating performance.
In Kaija Saariaho's clarinet concerto D'om le vrai sens, with Kari Kriikku as soloist, and Mahler's Symphony no. 7, masterfully conducted by Ilan Volkov, the RTÉ NSO enchant the audience in Dublin.
The combined forces of Mexico’s most prominent conductor Carlos Miguel Prieto and the leading Spanish clarinettist Sergio Castelló López lent a slightly new sound to the Hallé.
The New York Philharmonic premieres Julia Wolfe’s remembrance of the victims of the 1911 Triangle Shirtwaist Factory fire and plays an elegy to LBJ and an Aaron Copland jazz concerto.
The Swedish clarinetist's recital in Alice Tully Hall, part of the Great Performers at Lincoln Center series, was as thrilling and rewarding as any before.
McFall’s Chamber’s bittersweet programme of Polish music referenced Tango in Warsaw, exploring the avant-garde of Grażyna Bacewicz and early and late Penderecki
Three works written in the turbulent years after the end of World War 2 were featured in this dynamic concert with the BBCSO under the baton of Sakari Oramo.
For all its ambition, the première of Jesper Nordin’s Emerging from Currents and Waves at the Baltic Sea Festival consisted of little more than slick surfaces and displays of overload
Marking a trio of anniversaries, Debussy, Bernstein and their 25th milestone, the Ulster Youth Orchestra are welcomed home from their celebratory European tour with the warmest Irish greetings.
Edinburgh Fringe’s late-night candlelit atmosphere: a packed St Patrick’s for a lovely Fauré Requiem from St Andrew Camerata and beautiful and haunting The Last Exit for soprano and clarinet at Old St Paul’s.
McFall’s Chamber’s Red Blue Balance - music for chamber musicians and jazz trio, introduce three new works, revisit recent work and hark back to Bongo Club days with driving Zappa and swing band Raymond Scott pieces at Edinburgh’s Fringe.
The “Festival Tour” and its three-venue concerts of the Davos Festival programme included almost as many visual and outdoor delights as it did musical treats.
New York Philharmonic, under the strong leadership of its incoming music director, demonstrated that they can perform opera as well as symphonies in an impressive performance of Act 1 of Die Walküre.
James Ehnes, Steven Osborne and Alban Gerhardt captured the lamentations of Shostakovich's Second Piano Trio before they were joined by clarinettist Jean Johnson for Messiaen's quartet at St John’s Smith Square.
At the Edinburgh Frings, a niche festival of late night classical music thoughtfully programmed at Old St Paul’s Church nestling off Edinburgh’s Royal Mile is food for the soul.
An exploration of expression within controlled structure from Van Wauwe and the Quatuor Van Kuijk, in passionate Webern, tense Durupt and spirited Mozart.
Ottensamer shared the stage at Wigmore Hall with pianist José Gallardo and together they took it by storm with the erupting scalar passages in the first movement of Weber’s Grand Duo concertant.
Britten and Shostakovich were great friends, so it was appropriate that both composers were represented in the Belcea Quartet's two recitals on the opening weekend of the 70th Aldeburgh Festival.
An arcane Armenian orthodox chapel, two glittering Greek Orthodox churches, a waterfront palazzo and a sumptuous Austrian villa were fascinating venues for a delightful day of mini-concerts at the Istanbul Festival.
Le Trio Venturis composé de jeunes solistes issus du Conservatoire d'Amsterdam et récemment primé en France lors du Concours International de Musique de Chambre d'Illzach a confirmé ses belles qualités lors d'un récital proposé à Laren, aux Pays-Bas.
Sven-Eric Bechtolf’s minimalist staging brought the protagonists’ complicated psychological interaction into focus but to the detriment of Wagner’s myth and magic.
