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Frank Peter Zimmermann dazzles in an angelic tribute, while Alan Gilbert and the NDR Elbphilharmonie Orchester emphasise clarity at the expense of warmth.

Augustin Hadelich is an authoritative interpreter in Bartók's Second Violin Concerto, while Alan Gilbert and the NDR Elbphilharmonie Orchester never quite succeed in scaling the heights of Bruckner 7.

Under Alan Gilbert’s baton, Kirill Gerstein presented the very recent piano concerto of Thomas Adès on an otherwise conservative program of Bach and Brahms.

The wealth of visual images displayed by director Graham Vick goes with the extraordinary richness of Korngold's music.

This titanic performance of Busoni’s 70-minute concerto was riveting, but exhausting to hear. It was preceded by a sparkling reading of Haydn’s “Military” Symphony.

Orchestra and conductor seem equally at home in Anna Thorvaldsdottir's galactic soundscapes and Richard Strauss' Symphonia Domestica. 

Malin Byström convinces as the Feldmarschallin with Adrian Angelico as a strong Octavian, under the baton of Alan Gilbert.

How can you do musical justice to the vast idea of creation? Alan Gilbert and the NDR Elbphilharmonie Orchester attempt to square the circle in Mahler's epic Third Symphony.

A rousing Dvořák Symphony no. 8 and that composer’s The Water Sprite filled out a highly satisfying performance.

Alan Gilbert reaches a pinnacle at the end of his tenure at the New York Philarmonic.

The origins of chamber music lie in a wish for music that could fit within a small room. On display at the New York Philharmonic last Friday were recent contributions that wished for the opposite.

Alan Gilbert and the New York Philharmonic somewhat overpower the hall for the music of John Adams, Esa-Pekka Salonen's concerto fascinates on a first hearing.

Absolute Jest sounds like perfect fare for an April Fool's Day concert. John Adams quotes Beethoven in many guises in his jolly work for string quartet and orchestra. 

Glimpses of fire amid refined elegance at the Barbican.

Maestro Alan Gilbert and the New York Philharmonic gave the New York première of Esa-Pekka Salonen's Cello Concerto with soloist Yo-Yo Ma.

The New York Philharmonic brought two works to the stage at David Geffen Hall last week; their extremely polished rendition of Lera Auerbach's violin concerto contrasted starkly with their under-rehearsed Mahler.

The New York Philharmonic, Alan Gilbert and Styephen Hough offer conventional interpretations of two 19th century warhorses.

The New York Phil's music director drives his Tchaikovsky hard but brings taut control to 20th-century repertoire, with Frank Peter Zimmermann oustanding in Bartók. 

Lang Lang played Beethoven with the New York Philharmonic with Alan Gilbert in a program that also included  Bartók and Ligeti.

A near flawless performance by the New York Philharmonic Orchestra capturing the soul of Brahms and Schumann. A fitting tribute on Brahms' birthday.

Before the NY Philharmonic even arrived in San Francisco, skeptics were complaining about the 'hackneyed" repertoire they were bringing on tour. But there was nothing commonplace about their interpretations, power, technical skills or performances. 

Alan Gilbert conducts Sibelius and Mahler at the helm of the New York Philharmonic. 

Sibelius and Nielsen still in very good hands at the LSO, but whence comes such a gift as that of Daniil Trifonov?

What’s next for the outgoing Music Director of the New York Philharmonic? It’s unclear. But this program reflected both his legacy and the gifts he will carry down the road.

Stephen Hough made light of the technical challenges of Dvořák's Piano Concerto; Carl Nielsen’s “Inextinguishable” symphony was an electrifying second half.

Carnegie Hall opened its 125th anniversary season with the help of one of the world’s greatest living composers, one of the world’s greatest performers, and one of the world’s greatest orchestras.

Alan Gilbert leads a troublesome Beethoven and a gorgeous Brahms. 

First seen at the innovative, fearless Aix-en-Provence festival three summers ago, George Benjamin’s riveting, grisly Written on Skin has arrived in New York. 

Academy Award-winning actor Marion Cotillard's portrayal of Honegger's Joan of Arc was curious, exultant, yet unflinching. 

Doug Fitch masterminds a splendidly inventive multimedia rendering of Petrushka, ably supported by Alan Gilbert and the NY Phil.

Neo-Romanticism, Modernism, and Post-Modernism run delightfully amok in the second night of the New York Philharmonic's Barbican residency.

The New York Philharmonic lack the 'wow' factor in Salonen, Ravel and Strauss at the Barbican.

An esoteric Nyx, an alluring Shéhérazade and a rollicking Rosenkavalier: the NYPO impress. 

Ms Batiashvili performed her final concert as the New York Philharmonic’s Artist-in-Residence alongside her companion and oboe virtuoso François Leleux in works by two distinguished organist-composers.

The influence of words and storytelling is apparent from Mr Adams’ dense score to Scheherazade.2, which broods throughout with cinematic yet unpredictable intensity.

New York Philharmonic under its music director Alan Gilbert delivered an impressive performance of Verdi's famous Requiem, with an excellent ensemble of soloists and chorus.

The New York Philharmonic began the New Year with a rapturous program featuring Ravel's Valses nobles et sentimentales, Nielsen's Clarinet Concerto, and selections from Tchaikovsky's Swan Lake.

Alan Gilbert leads the New York Philharmonic with guest pianist Yefim Bronfman in a concert of contrasts: Bartók's Piano Concerto no. 3 and Bruckner's Symphony no. 8 in C minor.

Alan Gilbert consistently pulled warm and intense playing from all sections, and the energy exchanged between him and Lisa Batiashvili was palpable.

Ornithologists would have had a field day in Avery Fisher Hall for the opening subscription concert in the New York Philharmonic's season. Trills and fluttering multiphonics abounded in Unsuk Chin's Clarinet Concerto, before bird calls opened Mahler's First Symphony.

Not everything worked in Gilbert's Beethoven Nine, but the stunning finale redeemed all.

Gilbert and the Gewandhaus gave us a Mahler 3 that was truly the representation of all of creation that the composer strove for. It's a symphony to keep coming back for.

The Leipzig Gewandhaus Orchestra under Alan Gilbert deliver a satisfying account of Mahler's titanic Third Symphony in the Berlin Festival, with a memorable solo from alto Gerhild Romberger.

In the 15,606 concerts given by the New York Philharmonic and its predecessors before this, Beethoven’s Ninth Symphony had received nearly 200 renditions.

“Opening Night” at the New York Philharmonic is a gala affair, although it’s rarely the actual opening night of the season. The gala isn’t as gaudy as the one that takes place across the plaza at the Metropolitan Opera, but it’s an auspicious occasion nonetheless, filmed for broadcast on public television and usually featuring a soloist with the appropriate star wattage.

So begins the fifth year of Alan Gilbert’s quest to make the New York Philharmonic the very model of a modern symphony orchestra: a concert in which the music director spent the vast majority of this time seated stock still; in which the luckier of the musicians spent most of their hours looking up at a big screen; and in which the audience spent most of their evening entranced by visuals and jump

After Simon Rattle blazed into the Philharmonie last week with big hits like Mahler’s Lieder eines fahrenden Gesellen, Janáček’s Glagolitic Mass, and (somewhat less of a big hit) Lutosławski’s Second Symphony, Alan Gilbert, normally to be found on a podium in front of the New York Philharmonic, returned with the same band on Thursday to play lesser-known pieces in the repertoire: Janáček’s violin

Unusual scenes at the New York Philharmonic this past weekend: a ballerina flouncing across the stage; conductor Alan Gilbert lugging a life-size puppet down the aisle amid rows of laughing, bewildered audience members; black-and-white video projections of the orchestra musicians sipping tea.

On Saturday evening, a collage of sound enveloped Lincoln Center’s Avery Fisher Hall as the New York Philharmonic warmed up before swarms of buzzing concert-goers.

Alan Gilbert’s last few seasons at the New York Philharmonic have featured an opera in June. While previous efforts have featured elaborate staging, this year’s installment, Luigi Dallapiccola’s Il prigioniero, was performed in concert. For this particular work, which was written for radio broadcast, this seems only appropriate.