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The Swiss conductor returns to the Accademia Nazionale di Santa Cecilia, presenting a triptych of pieces by Schumann, Debussy and Zemlinsky inspired by the season of renewal.

Lackluster Gershwin undercuts an otherwise impressive outing by Jakub Hrůša and the Orchestra dell’Accademia Nazionale di Santa Cecilia. 

The pianist enchants the audience with Mozart's Piano Concerto no. 20 in D minor, conducted by Leonidas Kavakos. 

Levit offers impeccable Beethoven, while Pappano enchants the Rome audience with Cherubini and Sibelius. 

The French pianist gives a performance of Prokofiev's Second Piano Concerto to remember; Tugan Sokhiev and an inconsistent Santa Cecilia thrill in Tchaikovsky. 

French pianist Alexandre Kantorow and conductor Jérémie Rhorer make successful debuts with the Accademia Nazionale di Santa Cecilia. 

The pianist enchants with her Tchaikovsky, while the Orchestra dell'Accademia Nazionale di Santa Cecilia tackles an unfamiliar Weinberg symphony.

Thomas Adès takes the audience in Rome into paradise, or the ascension into Dante's heavens, as his Paradiso makes its first appearance in Italy in a programme dedicated to the celestial world. 

The conductor directs the Accademia Nazionale di Santa Cecilia and Theatres of Voices in contrasting symphonies by Berio and Stravinsky.

Masabane Cecilia Rangwanasha is the pick of the soloists in a weighty reading of Mendelssohn's Lobgesang under Kazuki Yamada. But can Schubert's Fifth withstand the same approach? 

Sir Antonio Pappano and the Orchestra dell’Accademia Nazionale di Santa Cecilia give fine performances of works by Rossini, Ravel and Rimsky-Korsakov. 

Santa Cecilia's newly-appointed Principal Guest Conductor Jakub Hrůša leads an all-Czech concert, promising a bright future in Rome.

The Dutch conductor makes his debut at Santa Cecilia with a popular, fully symphonic programme.

Some last-minute changes in the programme undermine the success of a promising evening at Santa Cecilia.

Gardiner's vivacious conducting of the Orchestra dell'Accademia Nazionale di Santa Cecilia made this performance one to remember.

After a bumpy first half, Pappano turns the evening into a memorable one by delivering an outstanding rendition of the Finn's First Symphony.

Kirill Petrenko's remarkable artistry and Boris Giltburg's vibrant piano-playing are the highlights of the Santa Cecilia's performance.

After their "military" theme last week, Daniele Gatti and Markus Werba turned towards nature for their second programme with the Orchestra dell'Accademia Nazionale di Santa Cecilia.

Baritone Markus Werba shines in six military songs from Mahler's Des Knaben Wunderhorn.

An absence of theatricality from a conductor steeped in the operatic tradition: Sir Antonio Pappano and the Santa Cecilia Orchestra show restraint in a classical Mahler Sixth.

Sir Antonio Pappano and his Santa Cecilia Orchestra display their collective strengths in first symphonies by Bernstein and Mahler.

The Orchestra dell'Accademia Nazionale di Santa Cecilia's second performance of the weekend at Carnegie Hall featured compelling Salvatore Sciarrino and a heavy-footed Mahler 6.

After a nine-year absence, Martha Argerich returned to Carnegie Hall with stunning Prokofiev with the Orchestra dell'Accademia Nazionale di Santa Cecilia.

All roads lead to Rome. Last night however, the Orchestra dell'Accademia Nazionale di Santa Cecilia brought the Eternal City vividly to London.

Released from the incarceration of directorial prison walls, Fidelio can still make a most powerful impact on the concert platform.

On a rare visit to Milan, a programme of Gaspare Spontini and Beethoven exhibited a sound that was sometimes rough around the edges but brimming with creative energy. 

Hans von Bülow taunted that Verdi’s Requiem was just another of his operas “in ecclesiastical garb’”. It’s difficult to disagree when dispatched with as much operatic fervour as Antonio Pappano mustered here. 

Tony Pappano’s recipe for a concert programme: take a 20th century Italian one act opera, follow it with a romantic symphony chopped in half, then throw in a related German aria; play without a break. It may sound like a train wreck in the making, but the result was a triumph.

Celebrating the 100th anniversary of Benjamin Britten’s birth, Antonio Pappano led the Accademia Nazionale di Santa Cecilia Orchestra and Choir, together with first-class soloists, in an intense performance of the War Requiem.

No surprise to find a Verdi programme at the Proms in his bicentenary year, but what was unusual was the focus on sacred music, given his antipathy towards the church as demonstrated in his more prolific output, his operas.

Sir Antonio Pappano conducted a moving and original Rachmaninov Second Symphony as the highlight of the first of two Proms concerts with his Orchestra dell’Accademia Nazionale di Santa Cecilia at the Proms.

Little-known fact no. 1: Antonio Pappano made his conducting debut at the Norwegian National Opera, conducting La Bohème in 1987.Little-known fact no. 2: Antonio Pappano was music director of the Norwegian National Opera in the early 90s.These are probably big reasons as to why he chose to come to this part of the world to celebrate his 25th anniversary as a conductor.

Thursday evening at Renzo Piano’s modern Sala Santa Cecilia in Rome, a program given of Sergei Vasilievich Rachmaninov’s music was marked by grace, musical distinction, and infectious excitement. The excitement was brought by the pianism of the young Daniil Trifonov, who astounded with profound and agreeable musicality in the Piano Concerto no. 3 in D minor.

On Saturday night, Antonio Pappano and his Roman orchestra and chorus, the Accademia Nazionale di Santa Cecilia, brought us the first opera of the 2011 Proms- Gioachino Rossini's William Tell.

Since taking the reins of the Academia Nazionale di Santa Cecilia in 2005, the Music Director of the Royal Opera House, Antonio Pappano, has led one of the world's most admired and respected orchestras to dizzy heights of success.

Curiously, for a country that has created so much music, Italy has struggled to produce a world class symphony orchestra to match those from Berlin, Vienna, London and America. Partly due to the influence of the current director of music at London’s Royal Opera House, Antonio Pappano, that has now changed.

Antonio Pappano geht mit dem Orchestra dell'Accademia Nazionale di Santa Cecilia auf Abschiedstournee.

Remplaçant Martha Argerich, le pianiste islandais a interprété idéalement le Concerto en sol de Ravel, au milieu d'une soirée où l'orchestre romain et son chef n'ont pas brillé.

Antonio Pappano y la Orchestra dell’Accademia Nazionale di Santa Cecilia muestran al público de Madrid la belleza de lo inconcluso.

Triomphe pour Martha Argerich dans le Concerto n° 1 de Liszt. L'Orchestre de l'Académie nationale de Sainte-Cécile livre une leçon d'orchestre sous la direction d'Antonio Pappano.

Au Festival de Saint-Denis, Antonio Pappano dirige généreusement un bel Orchestre de l’Accademia Nazionale di Santa Cecilia. Joyce DiDonato se distingue dans Giovanna d’Arco.

Gemeinsam mit dem römischen Orchester intepretiert Sol Gabetta temperamentvoll das Cellokonzert von Édouard Lalo.

Mit dem Orchesterkonzert am Pfingstsamstag gelang den Pfingstfestspielen, nach dem großen Erfolg mit Ariodante am Abend zuvor, ein programmatischer Coup, der musikalisch überaus überzeugend war.

À la tête de l’Orchestra dell’Accademia Nazionale di Santa Cecilia, le généreux chef britannique a offert au public un rare moment de bonheur symphonique, avec l’engagement inépuisable dont on lui sait gré.

Beatrice Rana brachte Gefühlswärme zum Ausdruck, gestaltete subtil, sanglich, legte bei den doppelten und dreifachen Oktavkaskaden eine fast traumwandlerische Behändigkeit an den Tag.

L'orchestre et le chœur de santa Cecilia ont marqué la fin de la Semaine Sainte d'un grand moment de musique et de spiritualité avec ce bel hommage au Cantor de Leipzig. 

Pour leur troisième soir de représentation, les musiciens de l’Accademia Nazionale di Santa Cecilia et Ton Koopman ont offert au public de l’Auditorium Parco della Musica une performance faite de rigueur et de complicité.

La programmation invitait à s’interroger sur le rapport de Mozart et Chostakovitch aux autres artistes de leur temps ou de l’histoire de la musique en général.

Rafael Payare préside, avec un style à la fois sérieux et détendu, à l’introduction antéchronologique dans le langage hexagonal avec Claude Debussy, puis Camille Saint-Saëns et enfin Hector Berlioz.

L’orchestre et le chœur de l’Accademia Nazionale di Santa Cecilia  proposait un concert éclectique réunissant compositeurs du Centre et de l'Est européens.