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Ligeti, Grieg, Beethoven and 100 metronomes offer an unusual combination from the Ulster Orchestra in Belfast.

Cameron Menzies sets Verdi's timeless opera in a timeless world, with a mixture of styles indicating that all is not as it seems.

Soprano Louise Alder explored the dying embers of the Romantic movement in a sensitive performance of Vier letzte Lieder.

From the streets of New York to America’s southern states, Daniele Rustioni with the Ulster Orchestra present an all American evening, with some fine playing. 

Billed as “A Postcard from Italy”, Daniele Rustioni’s innovative vision sees a programme focused on a generation of 20th-century Italian composers, with formidable results. 

Two highly complementary works by Strauss and Mahler bring a satisfying evening of beautifully executed music-making between the Ulster Orchestra and their chief conductor. 

In a programme of Lyadov, Korngold and Rachmaninov, the Ulster Orchestra’s Chief Conductor brings an evening of music that wouldn’t sound out of place on the silver screen.  

Stravinsky came off more like a distillation of Mozartian than Bachian abstraction and the musicians responded with glee to the music's circus atmosphere.

In an unusual programme, with Finnish music from Rautavaara and Sibelius, separated by Walton, the Ulster Orchestra and Anu Tali find all the subtleties in the music.  

Taking a very different approach to programming for Valentine’s Day, Daniele Rustioni attracts a full-house to the Ulster Hall with Prokofiev and Tchaikovsky. Francesca Dego is outstanding in Shostakovich’s First Violin Concerto.

Howard Shelley returns to Belfast, bringing vitality to a programme in which he convinced with infectious interpretations. 

In an evening of Hungarian and Bohemian inspired music, Jean-Efflam Bavouzet sparkles in a performance of Bartók’s Third Piano Concerto.

From the trials in love of a libertine, through the death of an angel, to the rise of an emperor, Rustioni takes charge of a rollercoaster evening of emotional turbulence.

Litton’s experienced hands reveal deep understandings of Copland, Barber and Walton, delivering a programme of stark emotional contrasts.

In the second concert of the new season, maintaining the highest musical standards, the Ulster Orchestra flourish in a highly considered programme.

In his inaugural concert at the helm of the Ulster Orchestra, Rustioni starts the new season with vigour in a charged evening of musical excitement.

The Belfast Philharmonic Choir with the Ulster Orchestra and four local soloists give a very mixed performance of Mendelssohn’s most famous oratorio.

Barry Douglas, in his home town, gives an excellent reading of a piece central to his repertoire,while Olari Elts puts the Ulster Orchestra through their paces in a highly colourful Petrushka.

Mozart’s early youthful 29th Symphony felt rather misplaced in this otherwise solemn concert from Rafael Payare, Ulster Orchestra and the Belfast Philharmonic Choir. 

Ulster Orchestra’s Principal Guest Conductor Jac van Steen returns to lead an outstanding evening, culminating in Elgar’s First Symphony. Louis Schwizgebel impresses in Saint-Saens’ Fifth Piano Concerto. 

Reaching the climax of his exploration of Shostakovich’s “war symphonies”, Rafael Payare and the Ulster Orchestra pit Strauss’ epic tone-poem against the colossal “Leningrad” Symphony.

Widmann, Mendelssohn and Beethoven draw a full house to the Ulster Hall. Rafael Payare leads the Ulster Orchestra confidently, but Veronika Eberle steals the show.

Rafael Payare and the Ulster Orchestra present a programme of music that looks both backwards and forwards from composers who were musical visionaries.

Simon Trpčeski gives a commendable performance of Brahms’ Second Piano Concerto, whilst Gabriel Bebeşelea conducts the Ulster Orchestra in a thought-provoking Sibelius Second Symphony.

Christoph Altstaedt conducts the Ulster Orchestra in a charming programme of quintessentially Viennese music for New Year.

In the second instalment of his Strauss and Shostakovich exploration, Payare directs the Ulster Orchestra in two hugely contrasting works premiered in times of conflict.

The Ulster Orchestra present a programme of classical elegance and sunshine; Rustioni is joined by Francesca Dego in an exceptionally sophisticated performance of Mozart’s Violin Concerto no. 3. 

Since their creation in 2010, NIO has brought unconventional opera productions to Northern Ireland. Their Rigoletto is bold, emotional and engaging with a stellar cast of local and international talent.

Husband and wife join together with the Ulster Orchestra in Ulster Hall, at the beginning of a year-long féile pairing the music of two twentieth-century giants of symphonic repertoire. 

In the climax of his penultimate season Payare conducted the Ulster Orchestra in a programme of Britten, Mahler and Shostakovich. 

Jean-Efflam Bavouzet shines in Belfast, playing Ravel's Piano Concerto in G major.

The Ulster Orchestra and Rosanne Philippens dazzle in Vaughan Williams and Sibelius under the baton of Jac van Steen.

Stephen Hough stuns with an emotive reading of Beethoven’s Emperor Concerto, while the Ulster Orchestra under Rafael Payare were on fine form for the season’s finale.

Alina Ibragimove reigns supreme in Symphony Hall with Brahms' Violin Concerto as Ulster Orchestra srtuggle to find the depth of emotion Sibelius deserves in Symphony No 1

Giselle Allen and David Kempster are on good form in a performance of highlights from Tchaikovsky’s Eugene Onegin, conducted by Jac van Steen.

Oliver Mears' impressively-cast farewell production in Belfast combines gripping drama and exuberant fun in a symbol-packed reading of Don Giovanni. 

Irish mezzo soprano Rachel Kelly joins the Ulster Orchestra in an evening of richly coloured orchestration and exotic flavour, conducted by Jac van Steen. 

Rafael Payare's energetic conducting of his Ulster Orchestra in Tchaikovsky, Haydn and Hellawell showed how fortunate Belfast is to still have this skilled musical force. 

Can classic opera reflect the political status of the society in which it is performed? Calixto Bieito's production of Turandot for Northern Ireland Opera raises some uncomfortable questions.

Jac van Steen and the Ulster Orchestra attempt to entice new audiences to classical music, with mixed results.

It is a cliché in music commentary to say that youth orchestras bring vitality, fearlessness and chutzpah to the programmes that they play. But as with most clichés, it does appear to be based in truth, and that is perhaps one reason why the BBC Proms continue to give such support to young players as well as young composers.