Live, Video: Find classical music concert, opera, ballet and dance reviews | Robin Ticciati

Ted Huffman brings some interesting ideas to his first Glyndebourne production. Excellent singing is let down by indifferent physical acting.

Sibelius' Kullervo receives a dramatic performance from Ticciati and the LPO, with strong turns from Shenyang, Miina-Liisa Värelä and the YL Male Voice Choir.

A Mozart's of symphonies – his last – under conductor Robin Ticciati is capped with a fine Jupiter, but is let down by the performances of its two predecessors.

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

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

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

Iestyn Davies shows how to make every word count in a fairly standard sampler of Baroque arias; Ticciati is a fireball on the podium with the Chamber Orchestra of Europe.

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.

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

Camille Pépin's Le Sommeil a pris ton empreinte, a violin concerto dedicated to Renaud Capuçon, receives its German premiere. 

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.

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

Beethoven was the spiritus rector of Ticciati's COE concert at the Elbphilharmonie, with Lisa Batiashvili in commanding form for that composer's fiddle concerto.

Forensic musicology has its limits: controversy will continue to surround any new attempt at providing a convincing conclusion to Bruckner's final symphony.

With Laurent Pelly directing, a very French evening sees a veritable feat of singing from Stéphanie d'Oustrac in La Voix humaine, followed by riotous surrealism in Les Mamelles de Tirésias.

Smyth's rarely performed tale of evil deeds on the Cornish coast provides searing drama marred by poor intelligibility and an overpowering orchestra.

Antoine Tamestit continues his Artist Portrait series with a concerto that was initially rejected by its first proposed soloist. 

The Deutsches Symphonie-Orchester performs works by Lang, Pärt, Stravinsky and Mahler under music director, Robin Ticciati. 

For social distancing reasons, the Festival dispensed with a full staging of Wagner's epic love story, allowing singers and orchestra to share the stage in an able compromise.

Glyndebourne's 2021 season opens with an intense, minimalist staging of Janáček’s tale of adultery, focused on the contrasts between its heroine's dreams and reality.

Robin Ticciati conducts a reflective account of Sibelius' Seventh Symphony, recorded behind closed doors at the Royal Festival Hall.

The German baritone was as extraordinary as ever in a programme with Robin Ticciati and the BRSO in Munich.

A welcome return to the Glyndebourne Festival for Melly Still's staging, which brings out the full emotional range of Dvořák’s fairytale of denial, heartbreak and forgiveness.

Christopher Purves bosses the show as Méphistophélès; Richard Jones' production is intelligent and carefully thought through but ultimately unconvincing.

Shakespeare's witches would have felt very much at home amidst the heated landscapes on display in this LPO concert featuring Sibelius and Bruckner.

Robin Ticciati and the DSO bring a strong sense of purpose to Rachmaninov's Second Symphony and Christian Tetzlaff explores the extremes of Beethoven's Violin Concerto. 

Now entering his second season as Chief Conductor of the Deutsches Symphonie Orchester Berlin, Robin Ticciati is keen to show the breadth of his repertoire and the extent of the orchestra’s abilities. 

Attentive to the dynamics and tempi, Frang meshed her violin with the orchestra, naturally coming into the footlights or receding into an accompanying role when required. In effect, the performance had a feel of an improvisation.

The annual transfer of a production from Glyndebourne to the Proms this year saw Herheim's baffling production of Debussy's masterpiece. 

Stefan Herheim's dreamlike production of Debussy's opera sets it squarely in the Sussex manor house that gave birth to Glyndebourne's festival. 

Strauss' mix of bedroom farce, comedy of manners and bittersweet musing about aging is acted and sung superbly in this revival of Richard Jones' production.

Is there any instrument more bittersweet than the viola? The violin does the acrobatics, the cello is more conventionally beautiful, but the viola sits in the middle of the orchestral palette like no other instrument. Neither high nor low, it’s perfectly placed to embody the contradictory and the conflicted, ideal for a sense of desire denied or of fulfilment deferred.

Robin Ticciati's final season with the SCO begins with some promising Dvořák. 

A strong cast led by Anna Stéphany's Sesto made the most of the last opportunity to hear Glyndebourne's production of Mozart's final opera.

A refreshing Austro-German programme of works that neatly dovetailed into each other, presented with energy by the Scottish Chamber Orchestra and Robin Ticciati.

A grimly dark setting for Mozart's final opera, Sesto and Tito haunted by childhood memories. 

The evening was dominated by Anna Netrebko, who reprised the role of Tatiana with fresh insights and vocal charisma.  Robin Ticciati led the Met Orchestra to probe a new depth of the score.

A high-level concert with some interesting choices of interpretation – sometimes fascinating, sometimes a bit too bold.

You think semi-staged opera is only half the fun? Think again. Glyndebourne's production of Mozart's oriental opera was a revelation.

Sultry Spanish rhythms and bawdy humour are counterbalanced by Gallic charm in the return to Glyndebourne of Laurent Pelly’s productions of L’Heure espagnole and L’Enfant et les sortilèges. Danielle de Niese joined a largely Francophone cast to ensure this joyous revival fizzed.

David McVicar updates Mozart's Singspiel Die Entführung aus dem Serail to the time of composition in a stylish, tender production at Glyndebourne. 

A pairing of a concerto and symphony from two giants of the 19th century in sensitively shaped performances.

Simon Trpčeski gives us precision and delicacy in a magical Ravel Piano Concerto in G major; fine singing from Karen Cargill can't prevent Ticciati's Mahler 4 from falling flat.

  Ticciati also leads a moody "Meditation" by Hosokawa and a blazing Schumann "Rhenish" Symphony. 

Scottish Chamber Orchestra's opening concert of Hosikawa's Harp Concerto and Mahler's Fourth was a study of man and nature. It also offered a welcome chance to hear mezzo Karen Cargill singing to her home crowd.

Glyndebourne’s annual away day from Lewes to the heaving metropolis is always a highlight of the Proms season, but this year’s visit was more hotly anticipated than usual. 

Rossen Gergov conducts a Slavonic Dance sandwich with Haydn and Ligeti filling, Tasmin Little starring in the latter's Violin Concerto.

A hush fell over the auditorium as renowned concert pianist and long-standing friend of the LSO Mitsuko Uchida took her seat for Mozart’s Rondo in A minor for solo piano. A personal tribute to Sir Colin Davis, Uchida opened the Rondo with almost childlike simplicity, the delicate chromaticism of the opening theme played with simplicity and tenderness and a magical connection to the melodic line.

The Scottish Chamber Orchestra made a welcome return to the Proms after two years’ absence (their last appearance was in the late night Prom in 2010), led by their youthful principal conductor Robin Ticciati, who has already been in the post for four years. They brought a programme showcasing the early 19th-century repertoire which Ticciati has recently been exploring with this orchestra.

A concert programme can resemble a puzzle; searching for links and contrasts often results in a more enjoyable, unified experience. I therefore strove to arrive in sufficient time for a careful reading of the programme notes for this performance by the Scottish Chamber Orchestra at Usher Hall, part of the Edinburgh International Festival.