Live, Video: Find classical music concert, opera, ballet and dance reviews | Michael Collins

Some thrilling moments in a memorable evening of Brahms and Weber, with the Philharmonia and Michael Collins on riveting form.  

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. 

The Wigmore Soloists make their concert debut in one of music's great ensembles – Schubert's Octet.

Playful Weber and sublime Mozart performed with warmth and joy by Michael Collins and the London Mozart Players from the lofty St Pancras clock tower.

Two Michaels – Collins and McHale – provided the musical nourishment in today’s lunchtime recital from Wigmore Hall, a feast of classic clarinet sonatas.

Brahms wrote four of the greatest works in the clarinet repertoire for his friend Richard Mühlfeld. The indefatigable Michael Collins performed three of them in the latest recital in Stephen Hough's Brahms residency.

Early and late Beethoven in the closing two recitals of Wigmore Hall's Beethoven Festival Weekend. 

With a smaller programme and a humbler premise, the stars of the show – those young, immensely talented performers – could have shone even brighter

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

Up and Coming American James Feddeck makes an impressive CBSO debut in a programme of familiar works.  

Happy Birthday, Mozart! An incisive Gran Partita from London Winds, a spirited Sesto from Christine Rice, and a memorable and arresting Concerto from Collins and the City of London Sinfonia.

Watery September sunshine and an autumnal air hung over Wigmore Hall, appropriate conditions for a recital of late clarinet sonatas.

In Strauss 150th anniversary year, it seems natural to pair him with his beloved Mozart. Strauss was just 20 years old when he composed his Suite in B flat for 13 wind instruments – in the same key, although a different combination of winds, as Mozart’s famous ‘Gran Partita’ Serenade.

Michael Collins' golden tone delights in Mozart's Clarinet Concerto in a concert featuring the world première of Gwilym Simcock's latest composition, On a Piece of Tapestry.

Southbank Centre’s The Rest is Noise festival is continuing this season with programming focusing on the second half of the 20th century. Tonight’s music was a part of the festival’s Britten centenary celebrations, adding in works by Copland and Shostakovich.

St George’s Bristol is an extraordinary venue. Renowned for its unbeatable acoustic amongst performers and listeners alike, there is something unique about it that cannot be attributed to its sonic qualities alone.

Before last night I had reserved judgement on John Adams’ Grand Pianola Music (1982), which I knew from CD but hadn’t previously heard live. It was an effect-piece, I thought, so while it had left me a little cold in recorded form, I was open to the possibility that this enormous, ecstatic major-key pile-up would blow me away in the concert hall.

Concert performances of ballets are a rare event at the BBC Proms and Wednesday night gave us the Proms première of what is a very popular ballet score on the stage. Prokofiev’s ballet, Cinderella, follows the traditional story of the downtrodden heroine, unlike the two operas which take this tale as their basis, and the music overflows with the magic of this beloved children’s story.

Osmo Vänskä strode onto the stage to great applause, paused for the slightest of moments and then lunged at the orchestra with his baton. The gesture was sudden and lacked clarity, and as a result, the first note of the Prom wasn’t together in the strings.

Reviewing is a remarkable pastime. Last week I reviewed a new jazz opera about baseball for kids from Hackney, something I never thought I’d do. Now I’m reviewing a concert about as far removed from Shadowball as could be possible: not physically, but musically, philosophically and emotionally.

A show of “all our favourite people”. Violinist Matthew Trusler's description of the charity concert organised by himself and his wife Maya Koch refers to his and Koch’s favourite people; however he could very well have meant his audience’s or even the concert-going public.