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An evening of Russian classics at the Royal Festival Hall, where Esther Yoo joins the RPO to play Tchaikovsky's Violin Concerto. 

A most idiosyncratic version of Rachmaninov's Second Piano Concerto from Khatia Buniatishvili along with a notable performance of Sibelius' Second Symphony from the RPO, touring the United States under Mark Wigglesworth. 

Shelley and the RPO make sense of Shostakovich with lush Glazunov, tight Borodin and dazzling Prokofiev with Kian Soltani.

Curate's eggs are surprisingly common in the musical world: a disappointing concerto performance from an off-form Alexei Volodin but impressive results from Robert Trevino and the RPO in the main work.

Things went from good to great in the course of the Götterdämmerung highlights.

Some of Kozhukhin's trills were as rattling thunder – but there was much delicacy and poetry on offer in the many lyrical episodes.

A potentially stimulating mix of full-bloodied Russian orchestral writing not fully realised by the RPO and Alpesh Chauhan, but with a promising concerto debut by Diana Adamyan.

Gabriel Bebeşelea's debut with the RPO brought two composers from his native Romania – George Enescu and Ciprian Porumbescu – and paired them with Mozart and Saint-Saëns in an interesting, albeit patchy concert.

Vaughan Williams' Fifth Symphony is given a great performance by the Royal Philharmonic Orchestra at Cadogan Hall. 

Rafael Payare demonstrates his mastery of a late Romantic score and together with the RPO partners Lise de la Salle in an early piano concerto by Mozart.

Competent if underwhelming Handel from the Royal Philharmonic Orchestra and Maxim Emelyanchev.

Alexander Shelley conducts a folksong-infused programme of Kodály and Bartók, with Mariam Batsashvili performing Liszt. 

Neither the conductor, Lionel Bringuier, nor the soloist, Valerij Sokolov, bring much intensity of expression in this RPO concert to a pair of 20th-century Russian masterworks.

Xian Zhang brought out the beauty of the Royal Philharmonic Orchestra’s engaging sound and soprano Fatma Said gracefully beguiled us with Strauss.

Polished but ultimately tepid performances that kept the emotional temperature under wraps despite some fine individual playing and singing.

Assured and mostly rewarding performances from the RPO in standard fare that underlined Bruch’s nobility, Elgar’s masterly orchestration and the originality of Sibelius. 

Uncertain Britten from Dausgaard and the RPO, but intense and passionate Elgar from Isserlis, and powerfully engaging Rachmaninov featuring exceptional woodwind playing from the RPO.

Rafael Payare, in his first appearance with the RPO, has musical encounters with Don Juan and Don Quixote, and a Mozart symphony provides a suitable contrast.

Continuing its interesting series “Myths and Fairytales”, the Royal Philharmonic gave colourful interpretations of the Hänsel und Gretel overture and Peer Gynt.

Alexander Shelley curated a hot-blooded programme of adventure and imagery with the Royal Philharmonic Orchestra, with Susanne Hou showing extraordinary technique and class in Tchaikovsky’s Violin Concerto.

Unusual links between works of Liszt, Beethoven and Mahler explored by the Royal Philharmonic Orchestra conducted by Ilan Volkov and with Pavel Kolesnikov as soloist.

A lot to commemorate but not all that much to celebrate in this concert given by the RPO with the twin Romanian combination of Cristian Mandeal and Alexandra Dăriescu.

A delectable programme from Barry Wordsworth and the Royal Philharmonic Orchestra with pieces by Elgar and Vaughan Williams and a rare chance to hear John Ireland’s eclectic Piano Concerto.

A Haydn choral sandwich and meaty Mozart filling served up by the RPO, the pianist Llŷr Williams, City of London Choir and Hilary Davan Wetton.

Few other pianists have Argerich’s naturalness, her ability to epitomize the essence of music rather than interpret it. 

Just what the doctor ordered: a programme of Franco-Iberian musical delights to advance the cause of a Mediterranean lifestyle, with Charles Dutoit and the RPO in commanding form.

The RPO were on ripe form in works that still need such fine advocacy, and which deserved a much larger audience.

Intended to signify the contribution of Russian music to the Western canon, the Royal Choral Society gave admirable performances of two major choral works, rarely heard in Winchester Cathedral.

Big sounds were on display as Christoph König and the RPO powered through Rachmaninov and Wagner, with a measured and flowing Tchaikovsky Violin Concerto from Tasmin Little.

With combined ages of over 150 years between conductor and soloist, there was no lack of experience on the platform for this Royal Philharmonic Orchestra concert.

The Royal Philharmonic Orchestra provided a formidable performance of Shostakovich's Seventh Symphony under Marin Alsop, with Renaud Capuçon bringing warmth and joie de vivre to Mendelssohn.

Alexander Shelley and the Royal Philharmonic Orchestra mixed simplicity with demonic shenanigans in two Prokofiev symphonies, while Chloë Hanslip dug deep in an impassioned Sibelius Violin Concerto.

Bruch’s Violin Concerto bo. 1 had a delicate soloist, but an outspoken orchestra, while Saint-Saëns’ “Organ Symphony” struck all the right notes.

Charles Dutoit, still sporting his trademark slick of black hair and a 79-year-old whirlwind of francophone charisma, clearly brings this band's playing to a new level, especially when the repertoire happens to be French and Russian music of the 20th century.

Callum Smart, playing Bruch’s Violin Concerto no. 1 in G minor, and conductor Matthew Halls made very successful debuts with the Royal Philharmonic Orchestra at a packed Cheltenham Town Hall.

The Royal Philharmonic Orchestra, its Music Director Charles Dutoit, Principal Guest Conductor Pinchas Zukerman and Martha Argerich party in style with Rossini, Schumann, Bruch and Stravinsky.

Charles Dutoit and the Royal Philharmonic Orchestra are the stars in a demanding programme of Dvořák and Bartók.

Despite some briliant orchestral playing and orchestral warhorses, Pinchas Zukerman's wooden conducting style made for an unmemorable evening at Cadogan Hall. 

The start of Pinchas Zukerman's Summer Music Festival struggled to find inspiration.

The Royal Philharmonic Orchestra presented a space-themed concert in an exciting evening’s programme of many well-known pieces rolled into a couple of hours.

The RPO play a contrasting programme of two dark symphonies by Sibelius and Tchaikovsky, with the Georgian panist Khatia Buniatishvili as the soloist in the Schumann concerto.

An engaging soloist, passionate conductor and fantastic orchestral playing made light work of a slightly lop-sided and overlong concert. 

A globetrotting programme from Dutoit and the RPO that whisked us from Rome's fountains to St Petersburg's Shrovetide Fair via Bohemia's woods and fields. 

The sheer contrast between each movement, the ferocity of the orchestra and the dynamism of Vasily Petrenko made for a whirlpool of a performance – dangerous, dark and occasionally tranquil. 

Three Russian warhorses given performances of remarkably varying quality by the Royal Philharmonic Orchestra.  

A high impact performance of Shostakovich's Fifth Symphony from Ilan Volkov and the Royal Philharmonic Orchestra, with striking and engaging Ravel from Ingrid Fliter – and a gem from Nikolai Roslavets.

Positioned at the heart of St Paul’s Cathedral, Rutter took to the stage to perform a sold out concert dedicated to his life as a composer. 

The Royal Philharmonic Orchestra under the baton of José Serebrier concoct images of iconic movie scenes in audiences' minds in a concert of classic film scores. 

An eclectic mix of Debussy, Mozart with the doyenne of the Russian school Elisabeth Leonskaja and the riddle that remains Shostakovich's final symphonic statement.

A packed Royal Albert Hall cheered as rocker-come-classical composer Eric Whitacre took to the stage for this Sunday matinee.