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A standard programme of overture, concerto and symphonic suite, but with mixed results: Kerem Hasan and the RPO bring out all the vibrancy in Rimsky-Korsakov whereas Fumiya Koido disappoints in Beethoven.

Vasily Petrenko continues to show a marked facility for Vaughan Williams with a terrific performance of A London Symphony, preceded by a most interesting Emperor Concerto with Boris Giltburg.

How much classical restraint and how much Romantic feeling do you really want in 19th-century concertos and symphonies? With the RPO, Fumiaki Miura and Andrew Gourlay both choose to err on the side of the former.

At the Royal Albert Hall, the Philharmonia Chorus make an infernal set of demons, encouraged by that impish Lord of misrule, Vasily Petrenko. 

Vasily Petrenko continues his ‘Great British Music’ series with the Royal Philharmonic Orchestra, but with an aptly programmed Russian concerto. 

With warhorses like Rachmaninov's Second Piano Concerto and Beethoven's “Pastoral” Symphony, the onus is on the conductor to deliver and Edusei does not quite hit all the right notes in this spirited, but flawed concert.

Elgar's Violin Concerto is at the heart of Vasily Petrenko's first Royal Festival Hall concert since becoming the RPO's Music Director. 

On paper it all seemed so alluring: a tuneful opening suite, one of the raciest warhorses in the stable and a national icon to close with. However, the reality in Grieg, Tchaikovsky and Elgar was somewhat different. 

How do you like your Tchaikovsky and Sibelius? Great music admits of several approaches, often challenging traditional views. Noa Wildschut's violin and the RPO under Richard Farnes show why expectations are not always met.

Sean Shibe impresses alongside the Royal Philharmonic Orchestra in a programme of nimble works at the Cadogan Hall. 

Vasily Petrenko conducts a performance of Vaughan Williams' Fifth Symphony that hit the right note from first to last. 

The evolving relationship between Petrenko and the Royal Philharmonic Orchestra is one to be followed.

The classical music industry badly needs its new solo stars and less familiar repertory. Jess Gillam and her sparkling saxophone together with the RPO and Vasily Petrenko show the way.

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.