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In a powerful performance conducted by Daniele Gatti, Verdi’s Requiem soars with optimistic energy to close the Prague Spring festival in Smetana Hall.

From the earthy joy of Meistersinger to the sublime textures of Debussy, Daniele Gatti channels the Dresdeners' legendary, layered warmth into an unforgettable evening of pure acoustic luxury.

Daniele Gatti and Kirill Gerstein offer fresh, invigorating takes on two warhorses with the Staatskapelle Dresden. 

Five highly dissatisfied lead characters find only disastrous or ambiguous outcomes. Yet there are few greater operas than this.

A lively and amusing Barbiere at the Teatro del Maggio Musicale Fiorentino, with Daniele Gatti expertly marshalling the talents of Ruzil Gatin, Vasilisa Berzhanskaya, Nicola Alaimo and Fabio Capitanucci in Damiano Michieletto's colourfully minimalist staging.

The Teatro dell'Opera opens its season with the world premiere of Giorgio Battistelli and Ian Burton's new Shakespearean work, under the baton of Daniele Gatti and the direction of Robert Carsen.

After a fifty-year absence from Roman stages, Verdi's opera about the Maid of Orléans makes an appearance at Teatro dell'Opera under the conduction of Daniele Gatti.

A performance meant to celebrate Stravinsky’s heritage proposed several works brimming with energy and wit that should be present in the concert life not only during anniversary seasons.

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.

Graham Vick's new staging of Mozart's unfinished Singspiel marks a welcome, exciting reopening of Teatro Costanzi after the Covid-19 shutdown.

Living in an environment influenced by French culture, Verdi saw the chance of breathing new life into the Italian opera through the grand-opéra. Les Vêpres siciliennes is his successful attempt.

Italian sunshine and Austrian spring days evoked in a programmes containing two symphonies at the Royal Festival Hall. 

Jansen is an artist of such great musicianship that she was able to instill new life to Bruch's First Violin Concerto.

In Wagner and Bruckner, Daniele Gatti is proving to be a great standard-bearer for one of the world’s greatest ensemble’s traditional values

Michieletto's production for the Teatro dell'Opera in Rome is fresh, intelligent and destined to go down as one of his best. 

The Concertgebouw's distinctive sound has remained intact. Ripe lower strings meld with limpid winds and sculpted horns emerge slowly into the foreground all gleaming and glistening.

The Concertgebouw and Daniele Gatti paint two very different pictures of Old Vienna: a maddeningly lifeless view of a Haydn symphony and a magical realisation of Mahler's shortest symphonic work.

Gatti and the Concertgebouw produce ravishing beauty in Bruckner 9; Rihm's In-Schrift fails to convince.

In an elegant new production by Ivo van Hove, Malin Byström portrays a graceful, erotic Salome and the RCO play with sensuous lyricism under Daniele Gatti.

Daniele Gatti is the winner of the night, managing to draw an astounding outcome from a far from ideal cast.

A truly remarkable performance of Stravinky's Sacre by the Royal Concertgebouw Orchestra and Daniele Gatti.

The concluding concert in the Amsterdammers’ brief Barbican residency mixed youthful promise with a programme that seemed to sum up 2016’s angst and fears.

Sparks fly in a vibrant new relationship between Daniele Gatti and the Concertgebouw, together with unflappable virtuosity from Lisa Batiashvili.

The RCO marked the investiture of Daniele Gatti as its seventh chief conductor with a sampler programme featuring Mahler, opera, and an expansive, glittering version of Respighi’s Fountains of Rome.

The RCO under its newly appointed chief conductor Daniele Gatti give a gripping programme of Romantic music. Soloist Gabetta impresses tremendously as well. 

At the basic level Tristan und Isolde is an opera of hormones, not happenings; fathoms deeper it explores human experience at a point where sense is dumb and flesh retires – as close to heaven and hell as it’s possible to go without first having to die.

An intense experience as the RCO explores programme music depicting poets, musicians and artists. 

Daniele Gatti illuminates Robert Carsen's blithe Falstaff narrative

The two Danieles – Gatti and Abbado – triumphed in the final opera of the 78th Maggio Musicale Fiorentino, with a heavenly new production of Debussy’s Pelléas et Mélisande.

The Vienna Philharmonic, the Westminster Symphonic Choir, Diana Damrau and Christian Gerhaher present a sublime Brahms Requiem on a snowy Sunday afternoon. 

The Vienna Philharmonic, under the direction of Maestro Daniele Gatti, perform impressive accounts of Brahms’ Second and Fourth symphonies. 

A meaty programme of Brahms from the Wiener Philharmoniker and Daniele Gatti.  

On home ground, the Royal Concertgebouw Orchestra played sensationally in Daniele Gatti’s intensely theatrical and impossibly beautiful Mahler 3.

A superlative Berg Violin Concerto with Leonidas Kavakos makes up for disappointing Schumann from Gatti. 

The stuff of fairy tales: a true love match. Daniele Gatti has already successfully moved into Amsterdam's royal palace. 

Ambrogio Maestri reprises his star turn as a vocally and theatrically complete Falstaff in Robert Carsen’s lavish, food-fuelled situational comedy at the Holland Festival.

From introspective Mahler to flowing Schumann, Claudio Abbado is remembered at a concert with the Mahler Chamber Orchestra in Dresden's Frauenkirche.

A fine performance of Mahler's Symphony no. 7 from London Symphony Orchestra and Daniele Gatti, which finds joy in confusion, but can’t quite transcend the chaos. 

It is the rare concert for which one can say that each half of the program would have sufficed as the sole offering of the night; when each half contains personality, wisdom, a sense of history, life-risking music-making, and attractive and important repertoire.

With the exception of the St Petersburg Symphony, the Royal Concertgebouw Orchestra is the only one I can recall walking onto a silent, empty, Usher Hall stage en masse. I don't know why this feature should strike me so – perhaps mere schoolteacher overtones. The welcome was warm and sustained until all 115 members were in place for Mahler’s monumental Symphony no.

Every once in a while, I hear a concert that grips me from the first note and doesn’t let go until the very last. Daniele Gatti and the Philharmonia’s performance of Verdi’s Requiem at the Royal Festival Hall was such a concert.There are some caveats to make: I’m not catholic, I’m not very religious and I’m not particularly steeped in the tradition of liturgical music.

The Wagner bicentennial marches on, bringing grand sounds from practically every corner of the musical earth. What appear most frequently on concert programs are various extracts from the operas, such as the collection of preludes, overture, and vocal and orchestral excerpts offered by the Boston Symphony Orchestra and Daniele Gatti at Carnegie Hall.

Before the music in the Metropolitan Opera’s new Parsifal starts, a black but reflective curtain drapes the front of the stage. It is dim enough not quite to show the audience, but it picks out the chandeliers.

The Gustav Mahler Jugendorchester are known as one of the best youth orchestras in the world, if not the best. As such, they do not shy away from the more difficult repertoire and tonight’s performance of Berg’s Violin Concerto and Mahler’s Symphony no. 7 reaffirmed their reputation.

The Gustav Mahler Jugendorchester is one of the finest youth orchestras in the world. Bringing together young musicians from all over Europe, from Portugal to Russia, it is a model of international co-operation.

When Salzburg Festival director Alexander Pereira stepped onto the stage of the Großes Festspielhaus last night to announce that one of the cast members of La bohème was sick and unable to sing, he faced a chorus of hisses from the audience. Soprano Anna Netrebko, the festival’s biggest non-conductor star, was feeling fine (though as Mimì she would shortly die of consumption).

In the end, the big man gets the last laugh. Come to think of it, he also gets the first laugh, but for different reasons: you sense that Verdi steadily grew to love Falstaff in the course of writing the opera, as he turns from a coarse buffoon into a maligned old man and, eventually, into the spirit of laughter itself.

You can, more often than not, tell how good a performance of Mahler's Fifth will be from its opening trumpet call. Here, the Philharmonia's principal, Alistair Mackie, struck just the right balance between stridency and tragedy. Daniele Gatti's direction of this symphony was not, however, one of balance, still less one of compromise.