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This Strauss-Puccini Prom concert paired the Symphonic Fantasy from Die Frau ohne Schatten and Puccini's one-act opera, Suor Angelica. 

Even locked behind a music stand, like a caged panther in a sleek black gown, Grigorian’s Salome bristles with dramatic energy in Barbican concert performance of Strauss’ “scherzo with a fatal conclusion”. 

Sacred and secular, operatic and symphonic dimensions united in a thrilling climax to the London Philharmonic Orchestra's season. 

An evocative reading of Tippett's early masterpiece sits proudly alongside a blistering performance of Beethoven's lasting gift to the world. 

Another British music extravaganza from Sir Antonio Pappano and LSO proves to be a hit for an enthusiastic full house at the Barbican. 

A concert performance of Puccini's take on operetta sees a superlative reading of the score from Sir Antonio Pappano, and a sensational Magda from Carolina López Moreno.

Michael Tilson Thomas returns to the LSO with more Mahler, this time the mighty Resurrection Symphony which finds the conductor in glowing form. 

The London Symphony Orchestra has a mighty history with Britten’s magnum opus and has this score in their collective DNA. 

As Teodor Currentzis' time in charge of the SWR Symphony Orchestra draws to a close, he bids farewell in a series of nationwide performances of Britten's memorial to the pity of war.

Sometimes you just wish that circumstances had been different, fate kinder. Michael Tilson Thomas with the London Symphony Orchestra was not in full control of Mahler's mighty Third Symphony.

The Ninth forms a satisfying sequel to the conductor's mastery of the Seventh, marked by rhythmic spring and sonic splendour. 

Sir Antonio Pappano leads the massed forces of the London Symphony Chorus and Orchestra in a rousing rendition of Felix Mendelssohn's oratorio. 

Who needs a stage, sets or costumes, when opera can move us like this? Agneta Eichenholz leads a terrific cast in a concert performance of Janáček's searing opera. 

The LSO celebrate the breadth and vividness of orchestral colour, while Kirill Gerstein’s Ravel is a shade too reverential.

A Schumann premiere at the BBC Proms, revived with loving care by Sir Simon Rattle and the LSO. 

Marking their 20th anniversary with a celebratory tour, Les Siècles perform French classics at the Barbican under their twinkle-toed founder, François-Xavier Roth. 

Ukrainian bass Ukrainian Vitalij Kowaljow brings drama and authority to Shostakovich's Babi Yar, while Simon Trpčeski offers a classical Emperor. 

A poisoned rat, sugary girls and just the small matter of a man's soul. Berlioz's légende dramatique deals minor to the major and in the hands of Edward Gardner and a superb cast, the work truly comes to life and brings the composer's unique flair to the fore.

Contemplation and reflection should ideally form a counterpoint to jollity and merry-making in the festive season: an object-lesson from Sir Simon Rattle and his supporting forces.

With a powerful but not world-beating team of soloists, Gardner and the LPO tackle Schoenberg's sprawling cantata with aplomb – except for one near-catastrophic misstep.

The massed ranks of the LSO, the London Symphony and CBSO Choruses, Dame Sarah Connolly and Louise Alder gather for a staggering Mahler 2 at the BBC Proms. 

Sir Antonio Pappano and the LSO offer a riveting account of Il prigioniero, an idiosyncratic 20th-century opera. 

 It is rare for the LSO to take a literal and metaphorical back seat at one of their own concerts, but they supplied every instrumental need in Haydn's joyous oratorio. 

True to himself, Sir Simon Rattle and the LSO offered a mouth-watering programme of contrasts. The first half pointing clearly to the modern world worked better than the backward glance at a great Romantic symphony.

Sir Simon Rattle and the LSO open their 2021-22 season with an eclectic mix of British music that sees the orchestra at its most lustrous. 

With fabulous solo singing from Pavol Breslik and Elsa Dreisig, Beethoven's only oratorio Christ on the Mount of Olives turns out to be a gem. Sadly, the Berg Violin Concerto misses the mark.

At once visceral and disciplined, Roth drew scintillating playing from each section, none more so than the woodwind.

Tilson Thomas has form with Berlioz: the full forces of the LSO and London Symphony Chorus built up to a noble blaze

John Luther Adams piece unfolds with the patience and weight of the geological time, leaving a powerful mark.

Walton's Belshazzar's Feast crowns a dynamic, daring programme from Sir Simon Rattle and the London Symphony Orchestra. 

Messrs Rattle and Sellars bewitch the Barbican audience with a sumptuous rendition of Janáček's magnum opus. 

Plenty of mustard with Ives' beguiling Americana and intelligent Beethoven from Kirill Gerstein.

The LSO Futures season presented a programme of alternately effective, un-engaging and overpowering music at the Barbican.

An evening of three Italian opera composers on the concert platform, crowned with a glowing performance of Puccini's rarely heard Messa di Gloria.

Leading five choirs, fine soloists and a glowing Netherlands Philharmonic, conductor Marc Albrecht emphasised the human struggle in a highly dramatic performance of Mahler’s mammoth eighth symphony.

Dance, jazz and Latin rhythms were all present in this programme, which rolled back the years to Rattle's early years. 

Jane Archibald gave possibly the most dazzling account of Cunegonde's music that I’ve heard. 

It’s always a heart-warming sight to see so many young people at the Barbican as members of the National Youth Brass Band of Great Britain shared the stage with equal composure as the London Symphony Chorus and string players from the LSO.

There was a tingle to this concert, as if musicians and audience alike saw clearly for the first time what riches lie ahead.

Neither Simon Rattle nor Magdalena Kožena could resist a tendency to add sentiment.

Thomas Søndergård’s final performance as chief of the BBC National Orchestra of Wales sees them pull off Mahler 8 in style.

With this performance of Mahler's 'Resurrection' symphony, Bychkov has shown himself to be one of the composer's most interesting interpreters

Sir Simon Rattle’s resurrection of a Hollywood extravaganza, the Genesis Suite, entertains at the Barbican. 

Cast and choir snaked and kicked their legs through the aisles of the hall – picking up audience members along the way – leading to a riotous on-stage dance.

The LSO’s pedigree in Berlioz is second to none so La Damnation de Faust acted as the perfect showcase in its “This is Rattle” festival. 

A taste of the future with Sir Simon Rattle and the LSO.

Nietzsche's Midnight Song is the stillest piece of music in all Mahler, and Treviño’s poise and Larsson’s rich voice cast a powerful and profound spell.

The latent complexities of Nobuo Uematsu's video game music come to the fore with this orchestral makeover by the LSO.