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The London Philharmonic and Edward Gardner steer us through four ocean-related pieces, by Sibelius, Tippett, Ravel and Debussy.

The Planets gets the star treatment from Gardner and the LPO, while Beatrice Rana brings disarming delicacy to Rachmaninov.

Damiano Michieletto’s production of Janáček’s opera breaks a key tenet of high-concept opera: where it should reveal, it obfuscates. 

Richard Jones' 2009 production returns to Glyndebourne after a long absence, but the 1940s comedy scrubs up fresh. 

Compelling singers carry the day in the Glyndebourne Festival Opera's first staging of Wagner’s swansong. 

Annabel Arden’s production provides joyous comedy, with vocal and orchestral performances of the very finest.

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

 Aaron Lifschitz directs contemporary circus artists, Circa in an exhilarating, ecstatic performance with the London Philharmonic to launch the Southbank Centre’s Multitudes festival. 

The London Philharmonic welcomes back its Conductor Emeritus Vladimir Jurowski for a typically challenging programme of dark Russian and Ukrainian scores.

Robin Ticciati and the LPO take a fresh look at some very familiar works by Schumann and Mahler on their visit to Gateshead. 

Debutant conductor Thomas Guggeis filled out the programme with a creation of his own – a fusion of Tannhäuser, Lohengrin and Meistersinger.

Majestic Strauss and effortless Grieg from Edward Gardner and the London Philharmonic Orchestra.

Mozart's “Elvira Madigan” Piano Concerto is played with grace and style by Benjamin Grosvenor; Andrey Boreyko and LPO gives gripping accounts of Sibelius and Tchaikovsky. 

Two works by African American composers accompanied this 18th century music, now globally the most famous we have, which virtually disappeared until the middle of the last century.

Heaven on Earth from Edward Gardner and Isabelle Faust in the latest in the LPO's ‘Moments Remembered’ series at the Royal Festival Hall. 

A perennially unsettling pair of complementary post-war masterpieces, conducted by Andrey Boreyko, and a moving return to London for Gidon Kremer. 

A unique, but at times frustrating performance of Brahms’ First Piano Concerto demonstrates Víkingur Ólafsson's qualities, but it's in Bartók's The Miraculous Mandarin that the LPO really comes alive. 

Opening with those quintessential Romantics, Lord Byron and Manfred, Karina Canellakis’ LPO programme builds to a Bruckner 4 full of powerful forward momentum. 

Leif Ove Andsnes brings out the singing line of Rachmaninov's Third Piano Concerto before vocal soloists Kristina Mkhitaryan, Dmytro Popov and Kostas Smoriginas join the London Philharmonic Choir and Orchestra for The Bells. 

Edward Gardner, Benjamin Grosvenor and the LPO give a great performance of Busoni's mammoth Piano Concerto. 

Magnificent conducting from Robin Ticciati and fine singers make Glyndebourne's latest revival of Lehnhoff’s production musically rewarding, but cerebral philosophical elevation overpowers the earthy reality of lust and love.

Glyndebourne's new production of Lehár's greatest work is interpreted with his customary flair and fun by Cal McCrystal. 

Diane Paulus' staging is remarkably true to the original while making it feel like the work was written yesterday.

Vladimir Jurowski's six-year Ring with the LPO closes as the cycle began: a gleaming, golden ring with a black hole at its core. 

Seong-Jin Cho joins the London Philharmonic Orchestra for polished Beethoven before Edward Gardner continues his advocacy of Michael Tippett. 

There is a feast of inspiration for composers in the story of Romeo and Juliet, Tchaikovsky and Prokofiev each responding differently. Randall Goosby provides an excellent contrast in Mozart’s musical sunshine.

Take a fine orchestra and an equally fine chorus, together with three contrasting soloists, and for content the greatest story ever: all the ingredients to bring alive Haydn's The Creation.

Canellakis and the LPO are in fighting form with Brahms’ Fourth Symphony, while Pablo Ferrández provides subtlety and sardonic bite in Shostakovich. 

The world premiere of Frncisco Coll's Cuidad sin Senũo (City That Never Sleeps) proves intriguing at the Royal Festival Hall.

Overture, concerto, symphony: nothing to scare the horses here, nor in works by three major composers, Wagner, Mozart and Beethoven. Nothing world-shaking either in solid but often one-dimensional performances.

Ponomarchuk and the LPO raise the spirits in Felix Mendelssohn's Scottish Symphony after an underwhelming first half at the Brighton Dome. 

John Williams' Violin Concerto composed for Anne-Sophie Mutter misses the mark in the LPO's night at the movies. 

Tianyi Lu draws on the individual and collective virtuosity of the LPO to make an impressive debut in Rimsky-Korsakov, while Tom Borrow underplays the imperial qualities of Beethoven's “Emperor” Concerto. 

One opera conductor gives way to another to play music by one of the greatest of all opera conductors: Mahler's mighty Third Symphony.

Early Beethoven doesn't convince, but Karina Canellakis’s rendering of Shostakovich 8 pulls no punches: raw, frightening, even chastening

Richard Strauss, self-styled "first-class second-rate" composer, has been having a moment in London with several tone poems on show.

Not much of a flicker in the needle of the barometer for orchestra and conductor in Brahms, but Johan Dalene charms the ear in a serene outing of Sibelius’ Violin Concerto.

Not with a whimper but a bang! The LPO's new season, with Principal Conductor Edward Gardner in charge, gets off to an impressive start with Mahler's “Resurrection” Symphony. 

Edward Gardner conducts the LPO in a shrewdly conceived programme of Ligeti and Strauss.

It's been in the Glyndebourne rep for almost fifty years, but John Cox's production, complete with Hockney's iconic set, remains timeless. Robin Ticciati's superb conducting and an excellent cast made this latest revival a complete success.

A strong revival cast, conducted by Dalia Stasevska, demonstrate why Sir Peter Hall's 1981 vintage staging of Britten’s A Midsummer Night's Dream is such a classic. 

Brought to life by some sensational singing from a strong cast, Kosky's staging delivers repeated emotional punches. 

Strong singing and a punchy orchestral performance makes this latest revival of Donizetti's cheering village rom-com a hit.

After a rare treat to hear Tippett's commemoration of King Charles' birth and Alina Ibragimova's Mendelssohn, the crowning achievement of this concert is Edward Gardner's majestic reading of Janáček's Glagolitic Mass.

Conductor Emeritus Vladimir Jurowski returns to the London Philharmonic Orchestra, bringing with him some rare jewels such as Paul Hindemith's Violin Concerto. 

Conducting the LPO, Dima Slobodeniouk plumbs the depths of Sibelius' Second Symphony, while Beatrice Rana reveals the bewitchment at the heart of Mendelssohn's First Piano Concerto.

Boreyko and the LPO shine in Victoria Vita Polevá's tribute to Ukraine and Elena Langer setting of Edward Lear, and give a dazzling performance of Shostakovich 5.

Hands up if you want lush Russian romanticism, delivered in impeccable style by the LPO and Edward Gardner. Leif Ove Andsnes offers welcome freshness in Grieg.

“Abandon hope all ye who enter here” could have been the strapline for this brilliantly constructed, brilliantly played concert featuring music by Sibelius, Tchaikovsky and Thomas Adès himself.