Live, Video: Find classical music concert, opera, ballet and dance reviews | Thomas Dausgaard

A concert of two halves: the Philharmonia and Dame Mitsuko Uchida light up Beethoven with the essence of Classical style, but the orchestra struggles in Sibelius’ Lemminkäinen Suite. 

Thomas Dausgaard and his Scottish players probe beneath the surface in symphonies by Sibelius and Nielsen, while Jan Lisiecki seeks out maximum contrasts in a Beethoven concerto.

Dausgaard is in his natural habitat when conducting music by his compatriot and his account of the Sinfonia espansiva proves the highlight of this Prom. 

Violinist Gidon Kremer has championed the music of 20th-century Polish composer, Mieczysław Weinberg, whose music, influenced by Shostakovich, has so far been rarely heard. Here, Kremer performed the Violin Concerto.

Haochen Zhang, Thomas Dausgaard and the Singapore Symphony impress in Mozart and Bruckner.

Continuing in his inaugural Seattle Symphony season, Thomas Dausgaard casts a gorgeous spell with Scriabin but is just short of truly thrilling in Stravinsky's Modernist icon. 

I’ve heard this concerto a hundred times but it’s never sounded quite like this. It was a coming home.

Strauss’ Also sprach Zarathustra fills the Royal Albert Hall, while Schumann’s piano concerto is followed by MacMillan’s masterpiece The Confession of Isobel Gowdie. 

Viktoria Mullova is dazzling in Sibelius' Violin Concerto but the audience of Sage Gateshead fail to make their mark when asked to sing along to Finlandia. 

The BBC Scottish Symphony and Thomas Dausgaard unite Wagner, Strauss and a 43-year-old symphony from a modern Danish master.

Recreating the programme from Leonard Bernstein's first Prom, Thomas Dausgaard forged his own route through Mahler's Fifth. 

Thomas Dausgaard, Seattle Symphony’s Music Director Designate, arrived in town to lead the orchestra and its chorus in an impassioned account of Kullervo, the rarely heard Sibelius epic.

BBCSSO with Thomas Dausgaard, the Lund Male Choir and soloists gave a thrilling performance of Sibelius’ Kullervo with Finnish folk musicians joining the forces.

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.

If Principal Guest Conductor and Music Director Designate Thomas Dausgaard wore his array of conducting posts as a series of medals on the lapel of his tux, it would weigh him down considerably. 

Rachmaninov was not an especially religious man, yet he composed religious music, most famously the haunting All-Night Vigil (or Vespers) which was the climax to this evening's two Proms. 

It is dramaturgically risky pitting one musically dark and unfinished work against another. Thomas Dausgaard and the BBC Scottish Symphony Orchestra rose to the challenge in Schubert and Mahler.

The Seattle Symphony's all-Strauss program included a refreshing take on the Four Last Songs with soprano Gun-Brit Barkman and a sonic tour de force in the rare Eine Alpensinfonie.

The BBC Scottish Symphony Orchestra's prom brought to a fitting close a magical weekend of music from musicians north of the border.

Finnish violinist Pekka Kuusisto is anything other than ordinary in a concert that shows off the BBC Scottish Symphony Orchestra at their best.

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.

For the first time in its history, under Thomas Dausgaard's direction, the Seattle Symphony essays the ever-controversial – and not quite convincing – "Mahler Tenth".

Dausgaard dishes up a novel Brahms Second Symphony, while Hadland performs an elegant Coronation Concerto. 

The BBC Scottish Symphony Orchestra under Thomas Dausgaard took us on a Finnish journey in a haunting programme of Sibelius' last three symphonies. 

The BBC Scottish Symphony Orchestra and Thomas Dausgaard open a cycle of symphonies by one of this year's birthday boys at the Proms, Jean Sibelius, prefaced by a signature work.

Principal Guest Conductor Thomas Dausgaard's thrills-to-the-max approach for Sibelius' first two symphonies promises an adventure-filled complete cycle at Seattle Symphony's festival celebrating the legendary Finnish composer.

“Things found here are the opposite of what they are meant to represent,” warned Thomas Dausgaard at the opening of Saturday evening’s performance pairing Beethoven and Nielsen. 

Thomas Dausgaard conducted energetic performances of Bruch’s First Violin Concerto and Mahler’s Fifth Symphony with the Royal Liverpool Philharmonic, producing a great deal of fine playing though occasionally at the expense of long structure.Norwegian violinist Henning Kraggerud was soloist for the Bruch.

Another fine season for the London Symphony Orchestra looks inevitable after the brilliantly played Mahler 6 they brought to the Barbican on Wednesday night. With the assured Thomas Dausgaard leading the way in this furious, huge march, the band amply showed its Mahler chops with some scintillating orchestral sounds.

Thomas Dausgaard conducts with his body. A shift in his posture, without engaging hands or arms, is enough indication for his Swedish Chamber Orchestra to execute subtly graduated dynamic shifts.

Whoever curated last night’s BBC SO concert, conducted by Thomas Dausgaard, needs a medal. Not only were the pieces united by virtue of being composed at the same time during the dark years of the First World War, but also each composer seems to find something passionately troubled to say which reflected their vintage – an unusual combination of neglected works, two of which are masterpieces.

“What makes Mahler’s music like opium,” I once got asked. If you enjoy listening to lush melodies and pompous brass calls in fine Wagnerian traditions, or get stimulated sonically by a large orchestra, you have got a foot in the door.

It’s hard to say who was more excited about Prom 19: Thomas Dausgaard, who conducted the whole thing with lashings of arm-waving vigour, or the Proms audience, who enjoyed the performance so much that they deliberately (and justifiably) clapped between the movements.

Composed in under a month in 1945 against the backdrop of a burning, war-torn Dresden, Strauss’ Metamorphosen provided the perfect opening to a concert which explored themes of desolation and mourning. Commissioned by Swiss conductor Paul Sacher, Metamorphosen is a composition for 23 strings, inspired by Goethe’s poem ‘Niemand wird sich Selber kennen’ (‘No one can know himself’).

The evening’s music commenced with Ligeti’s Night; Morning, one of the composer’s last works before his emigration to the West. Although only a very short piece, it exhibits some of the compositional approaches that are now synonymous with Ligeti’s style.

Thomas Dausgaard dirige una épica Sexta de Mahler impecable técnicamente y evocadora del mundo sonoro de su autor.

Le Swedish Chamber Orchestra a confirmé, après une première partie décevante, sa réputation d’ensemble fringant débordant d’intelligence soliste à travers la Quatrième Symphonie de Brahms.

Auf den Spuren unerwarteter Verwandtschaft von Bruckner und Messiaen: Thomas Dausgaard und Christian Schmitt musizierten mit den Bamberger Symphonikern im Keilberth-Saal der Konzerthalle.

Après un concerto pour piano de Mozart un peu décevant malgré l'interprétation très juste d'Imogen Cooper, le BBC Scottish Symphony Orchestra donne une lecture exaltante de la neuvième symphonie de Bruckner, sous la baguette de Thomas Dausgaard.