Live, On demand, Streamed event: Find classical music concert, opera, ballet and dance reviews | Gianandrea Noseda

Clarion details from start to finish result in a spectacular Mahler Fifth from Noseda and the National Symphony Orchestra

Shostakovich, combined with witty Prokofiev, warm and expressive Mozart and atmospheric Mussorgsky from Noseda and the LSO at the Barbican.

Buniatishvili 4 – Tchaikovsky 2 at the interval, but Dmitri Dmitrievich comes off the bench after half time to level for the Russians in Leningrad.

Gianandrea Noseda proves his Russian credentials with a nerve-shredding, volatile account of Tchaikovsky's Fifth Symphony. 

Kevin Puts’ expanded work on Georgia O’Keeffe and Alfred Steiglitz provides another triumph for Renée Fleming and the NSO, while two Strauss works demonstrate both its artistic re-emergence and work left to do.

A major work going well beyond tango by Astor Piazzolla and a fresh introduction to African-American composer Florence Price highlight a concert that tries a bit too hard to please

Technically impressive pianism from Denis Matsuev doesn't click with Noseda and the LSO, but Shostakovich 6 is delivered with verve.

A good audience turnout for the opening of Noseda's third NSO season justifies an all-20th-century program centering on Carl Orff's popular and direct setting of medieval poems about real life and fate, but also presenting gentler works of religious reflection.

Philip Cobb’s bluesy inflections turned the dear old Barbican Hall into the coolest nightspot in the capital; they might as well have lowered the lights and served cocktails.

A last-minute cancellation resulted in a blazing performance of Tchaikovsky from LSO leader Roman Simović, paired with Strauss' orchestral masterworks.

Gianandrea Noseda's Shostakovich symphony cycle with the London Symphony Orchestra took us right back to the composer's student days, with the punchy First. 

An evening of Schubert in Washington DC, ending with Luciano Berio's "restoration" job, Rendering. 

Although Adriana Lecouvreur could never be referred to as one of the world’s greatest operas, Anna Netrebko, Anita Rachvelishvili and Piotr Beczała give it the star treatment at the Metropolitan Opera. 

It’s always a heart-warming sight to see so many young people at the Barbican as members of the National Youth Brass Band of Great Britain shared the stage with equal composure as the London Symphony Chorus and string players from the LSO.

There were memorable moments, as Noseda continued his advocacy of Sir James MacMillan and Shostakovich symphony cycle. Yet Noseda’s maximalist approach had its costs, as it was only in the opening Kodály that found Noseda at his best.

Gianandrea Noseda conducts the Royal Concertgebouw Orchestra, the Netherlands Radio Choir and an ideal team of soloists in a memorable performance of Britten's War Requiem.

The European Union Youth Orchestra confirms its exceptional quality in Zubel and Tchaikovsky. In Chopin, Seong-Jin Cho shows why he is a rising star of distinction.

An in-form Noseda and Benedetti meant that their Shostakovich was never to be lukewarm, as they portrayed the Soviet composer with fire and drama..

With so little of worth happening onstage, this performance requires a unanimously strong set of performances from the main cast.

Stefano Poda's staging has its own coherence, but it is as cold as the Chinese princess. 

What distinguishes Noseda's Tristan most of all is especial balance in the orchestra and a transparency of sound that reveals the inner-workings of the music.

Verdi’s Macbeth, performed at the first Edinburgh International Festival returns for its 70th anniversary in Emma Dante’s sumptuous new production from the Teatro Regino Torino under Gianandrea Noseda.

Director Emma Dante revives Verdi's Macbeth for Turin's Teatro Regio, conducted by Gianandrea Noseda.

A powerful and emotional staging by Bieito with five-star performances from both leads.  

An exhilarating ride through Mahler's Seventh at the Barbican. 

The libretto had a troubled genesis, to say the least: seven people put their hand on it! But the rich melodic invention of the composer prevailed and the success was resounding.

Vittorio Grigòlo and Diana Damrau repeated and cemented their intense on-stage relationship at the Met in Bartlett Sher's new production of Roméo et Juliette.

A promising start for the NSO's music director designate. 

After 120 years Puccini's La bohème returns where it was first produced on February 1, 1896. Ale Ollé, director fron "La Fura dels Baus" stages a modern rendition of the moving masterpiece.

Fluidity and colour in Debussy's La Mer and hard-edged defiance in Shostakovich's Symphony no. 5 were combined with Philip Cobb's trumpet refined and bright in Haydn. 

Gianandrea Noseda leads a fiery account of Verdi's “opera in ecclesiastical garb” to open the LSO's new season.

These two Manchester-based choirs formed a formidable partnership for one of the most gruelling choral works in the repertoire. The four soloists, however distinguished as individuals, produced mixed results.

Francesco Meli asserts his credentials as one of the top tenors singing Manrico; David Bösch's staging lacks attention to detail.

The Ravel G-Major piano concerto is in fact a mind-bogglingly virtuosic pianistic endeavor requiring fingers of steel and trills of satin.

Les Pêcheurs de Perles is a graceful if senseless piece, composed when Georges Bizet was only 25 years old and miles away from the psycho-musical drama of Carmen.

Gianandrea Noseda heats the National Symphony Orchestra up for Rachmaninov's Symphony 2. 

Petrassi’s modernist Partita for Orchestra and Rachmaninov’s Symphonic Dances fill out the program.

Gianandrea Noseda conducts the EUYO at the Ravello Festival, in an unusual pairing of Verdi and Mahler. 

Stefano Poda’s deeply intellectual mis-en-scene immersed the bourgeois love affair between Marguerite and Faust in an abstract and transcendental tangle of philosophical, existential and liturgical motifs. However, an overflowing symbolism sounded sometimes academic, but the visual effects were suggestive if not properly enchanting.

The London Symphony Orchestra hops across the Channel to give the opening concert in a new venue in Hamburg. 

A whiff of sulphur shrouded the Barbican this evening as Liszt met Mahler beneath the Mephistophelean glare of Gianandrea Noseda. Sparks flew. 

in Turin, British director Walter Sutcliffe sets Otello right in the middle of a never-ending battle and Gianandrea Noseda leads a passionate, rigorous account of the score. 

Teatro Regio in Turin paid its first seasonal tribute to Giuseppe Verdi with an engaging execution of the Messa da Reqiuem.

At the 2014 Edinburgh International Festival, Gianandrea Noseda leads the Teatro Regio Torino in a concert performance of Rossini's William Tell that offers enormous variety without quite hitting the bull's eye.

A lovingly crafted performance Franck’s Symphonic Variations glows under the advocacy of Benjamin Grosvenor while Gianandrea Noseda steers the BBCPO through a magnificent Saint-Säens’ Organ Symphony. 

Andrea Chénier can seem more a series of scenes than a dramatic whole and it relies on exciting, charismatic luminaries to hold it together and keep the interest high. This revival of Nicolas Joël’s staging is a noble effort, but disappoints.

Even the best opera glasses would be no match for the intensity of this close-up introspection: a new production of Borodin's Prince Igor is playing at the Met.

Former chief conductor Gianandrea Noseda made a well-received return to the BBC Philharmonic, conducting a popular programme of Verdi, Bruch and Beethoven.Noseda and the BBC Phil attracted widespread attention in 2006 when they offered free downloads of their entire Beethoven symphony cycle. Demand was huge, with some 1.6 million copies downloaded.

A combination of Russian and English masterpieces formed the fourth concert of the London Symphony Orchestra’s 110th season. Three of the pieces were written and/or performed during the Second World War, whilst the remaining piece – Prokofiev’s magnificent Piano Concerto no.