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A terrific collaboration between Russian pianist Polina Leschenko and the Australian Chamber Orchestra in music by Chopin and Mendelssohn.

Cheerful energy and exploding fireworks in the ACO's Sydney programme, if lacking in a little repose. 

The Australian Chamber Orchestra brings music from Indie rock stars and the Polish composers who inspired them, with superb contributions from Guildhall students.

Jennifer Peedom's 75-minute documentary about rivers suffers from a greyscale narration and greyscale musical elements. 

The Australian Chamber orchestra gives its first subscription concert in Sydney since the beginning of the year. 

Concert life returns to Sydney with a programme of Mendelssohn and Schoenberg by the Australian Chamber Orchestra.

To mark #Beethoven250, the Australian Chamber Orchestra plays his first three symphonies in concert. But can one eat three delicious desserts in one sitting? 

The expanded forces of the ACO take on two major nineteenth-century symphonic works by Dvorak and Brahms, prefaced by world and Australian premieres of pieces by Andrew Ford and Andrew Norman

Richard Tognetti’s absorbing programme mixed Bach’s Goldberg Variations with Stravinsky and Adès, played impressively and with characteristic exuberance and finesse by the Australian Chamber Orchestra.

This concert in the ACO's “Celebrating Mozart” season included two symphonies in G minor – by Haydn and Mozart – to bookend the evening. 

The pictures win out as Bill Henson's powerful, complex and mysterious images take on the ACO's music, ranging from REM to Pēteris Vasks.

Under guest director Lorenza Borrani a subdued ACO offers a programme of arrangements of Prokofiev and Beethoven sandwiching a new work by Dobrinka Tabakova.

For their 2019 season-opener, Tognetti and the ACO collaborate with the Estonian Philharmonic Chamber Choir to give a meditative, quasi-religious program centred on Bach and Pärt.

A pair of masterpieces in the Australian Chamber Orchestra's latest programme, in typically thought-provoking interpretations. 

Mozart's final three symphonies make for a brilliant opening to the Australian Chamber Orchestra's London residency. 

Ilya Gringolts brings his brand of unspectacular virtuosity to the ACO's latest programme, with the Paganini Violin Concerto no. 1 and Bartók's Divertimento clear highlights.

The title of the latest programme by the Australian Chamber Orchestra is simply: Goldberg Variations. While Bernard Labadie’s ingenious arrangement of JS Bach’s Goldberg Variations for string orchestra takes up all of the second half of the programme, the first half was no less interesting.

Bracing and emotionally direct performances from the Australian Chamber Orchestra and Nicole Car, in a carefully-planned programme.

It takes artistic invention and considerable courage to design a concert programme solely around tragic topics; yet the connecting link between the various items on the last subscription concert by the Australian Chamber Orchestra was – directly or indirectly – death and great composers’ reaction to it. The key of C minor invariably carries sombre overtones in the works of Wolfgang Amadeus Mozart.

In their Sydney season-opener, the ACO with guest players from ANAM deliver a thoroughly satisfying account of two 19th-century standards and introduce two new works to Australian audiences.

Emmanuel Pahud shows his fluting chops in a program accompanied by the popular and celebrated Australian Chamber Orchestra.

Four years ago, the ACO mounted The Reef. Mountain is clearly its successor: another film project involving scenes of nature peopled by extreme-sports enthusiasts, screened while an eclectic soundtrack is played live by the orchestra.

One of the reasons why the programmes of the Australian Chamber Orchestra are both challenging and inspiring is because of the ensemble’s always interesting and thought-provoking approach to repertoire.

With Satu Vänskä at the helm, the ACO delivers a thrilling series of performances in an ecclectic program at the City Recital Hall, Sydney

Interleaving Bach violin concertos with Haydn symphonies, the ACO give an energetic performance in the Sydney Opera House, with highlight solos from Richard Tognetti and Helena Rathbone.

With utter technical mastery, the ACO extract every emotion from a concert that gets progressively darker as the evening proceeds. 

Richard Tognetti brings Baroque masterworks to Melbourne along with the world premiere of Kats-Chernin's new work for strings, Singing Trees.

In a relatively traditional programme, the Australian Chamber Orchestra reach the heights thanks to soloist Slava Grigoryan (on guitar), and a scintillating performance of Beethoven's Symphony no. 7.

Julia Lezhneva partners with Richard Tognetti and the ACO to deliver a thrilling program of Baroque arias, in which her vocal agility and expressivity are on full display.

Impressive rapport among members of the Australian Chamber Orchestra in Mozart and Beethoven.

The last of the renowned ‘Soviet school’ returns to Sydney to play Mozart, where "every note had its own significance and direction".

Barry Humphries’ Weimar Cabaret – a witty, urbane valentine to the musical culture of Germany in the 1920s and 30s, from the opera house to the concert hall to Berlin’s revues and cabarets.

Arrangements aplenty as the Australian Chamber Orchestra take on Bach's Art of Fugue and Beethoven's Op.130, with Richard Tognetti the accomplished soloists in Mozart's Violin Concerto no. 5.

It takes artistic courage to devote almost a whole concert to music associated with cinema, but then Richard Tognetti, the artistic director and concert master of the Australian Chamber Orchestra, never lacked creative thinking or musical audacity. 

A serious programme for a Valentine's day concert at Sydney Opera House.

Combining instruments and performing practices old and new, Richard Tognetti and the Australian Chamber Orchestra render Mozart symphonies with panache.

Richard Tognetti and Christopher Moore exhibit excellent partnership in Mozart's Sinfonia Concertante, while a performance of Brahms' Third Symphony by the expanded forces of the Australian Chamber Orchestra provides much excitement and colour, but little sense of architectonic coherence.

Imaginative keyboard leadership from visiting director Richard Egarr a highlight in his programme with the Australian Chamber Orchestra's 'Golden Age' tour.

The Gallipoli landings are etched indelibly into the Australian psyche. The Australian Chamber Orchestra offers an exploration of the campaigns which is enthralling and frustrating by turns. 

Effervescent Haydn, elegant Mozart, enigmatic Greenwood and exhilarating Tchaikovsky from the ACO in Dublin.

Beyond what size does a chamber orchestra just become an orchestra? With 60 musicians involved in their Mahler 4 and Sibelius 6 program, the ACO was certainly stretching anyone’s definition of ‘chamber’.

Marketed under the tagline: “42,000 years of music – 213 works – 1 performance”, Timeline is a hyper-ambitious production. At times history lesson, at times creative mash-up, it was both a highly stimulating and a frustrating experience, with outstanding performances from the instrumentalists and singers.

One of the pleasures of live music-making is seeing as well as hearing: one gets a sense of a performance as a multi-layered communicative act rather than solely as a sequence of beautiful sounds. In Saturday evening’s ACO concert with the extraordinary cellist Giovanni Sollima as soloist, the visual dimension contributed more than usual to the effect of the whole. 

The Australian Chamber Orchestra struggle with John Adams before finding their form in the music of Grieg, Maria Schneider (with Dawn Upshaw as soloist) and Elgar.

The Australian Chamber Orchestra is undoubtedly one of the nation’s strongest classical music “brands”, although trying to pin down the forces that make up this protean ensemble is difficult.

Pairing music from the 18th and 20th centuries is a common programming strategy, one which can bring out interesting parallels between the musical preoccupations of two very different eras. Some 20th-century composers looked to the more distant past as a way of engaging with traditions before the emotionally coercive 19th century.

When one sees the word “Erotica” in connection with classical music, one is usually safe in assuming that it’s a misprint in the title of Beethoven’s Third Symphony. And yet, at the Australian Chamber Orchestra’s concert on Saturday, it was no Freudian slip: Erwin Schulhoff’s Sonata Erotica, which the composer suggestively marked “nur für Herren” (for men only), was on the program.

For many reasons, the ACO’s most recent show The Reef was an artistic experience like no other in all my years of concert-going. It is difficult even categorising the event: an orchestral concert with accompanying video footage? A film with live soundtrack? Neither does full justice to the nature of the project.

Spot the odd one out: a symphony by Haydn, another by Mozart, a violin concerto by Mozart, and Electric Preludes by Brett Dean (2012). The bill of fare offered by the Australian Chamber Orchestra on Sunday cannot be called typical for them, since their programs evade any easy categorisation, but the gesture of mixing old and new is certainly a familiar gambit.

A feast of Russian chamber music was what was on offer for the Australian Chamber Orchestra’s latest concert. Featuring music by Prokofiev, Shostakovich and Tchaikovsky in a program entitled Russian Visions, the ACO with guest soloists Steven Osborne and David Elton provided an evening of music which was visionary, electrifying and intense in equal measures.