Live, Video: Find classical music concert, opera, ballet and dance reviews | Alina Ibragimova

Alina Ibragimova and friends join forces at the Queen Elizabeth Hall in two powerful chamber works composed at the height of the Second World War. 

Schiff takes the long view in Mendelssohn's unfashionable masterpiece. 

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.

From the tragically short-lived Guillaume Lekeu to Ernest Chausson's big-boned Concert via Debussy's sole string quartet, a tremendous evening at Wigmore Hall. 

Jurowski’s performances with the LPO are always thoughtfully curated, well prepared and entertaining. This concert was no exception. 

Mahler's Song of the Earth fits the bill of the Philharmonia's “Human/Nature: Music for a Precious Planet” series, and Xian Zhang has no need to hold the orchestra back! 

Powerfully communicated accounts of early 20th century, Gallic-permeated music combining the familiar with the rarely heard. 

The soloists turn out to be the perfect couple, while the camerawork covers the action like it was a soccer match.

Hélène Clément is called in at the last minute to join the Chiaroscuro Quartet for their Wigmore Hall recital. 

An evening of Hausmusik as friends gather to celebrate the birthday of one of the UK's finest pianists at Wigmore Hall. 

Corelli and a triple-decker sandwich on the south coast, with three arias from Handel’s Messiah separated by two concertos from Vivaldi’s Four Seasons.

The Orchestra of the Age of Enlightenment gets to strut its stuff on the Glyndebourne stage in a concert of Brahms and Beethoven. 

Travel restrictions prevented both the concert’s marquee names from appearing, but their stand-ins stamped their personalities on an immensely attractive (and unchanged) programme. 

The final event of the Ragged School Museum Festival saw a programme of Brahms and Shostakovich in the wonderful Victorian museum, tucked away at the heart of the East End.

The Second Ragged Music Festival showcases young musicians in Bach and Messiaen in East London.

Ibragimova delivers a delectable performance of Strauss' Violin Concerto, while Slatkin and the RTÉ NSO impress with McTee and Elgar. 

Daniel Harding and the Swedish Radio Symphony Orchestra in love with Pettersson and Berlioz, whereas Alina Ibragimova disappoints in Schumann.

A theatrical first half saw the world première of Rolf Wallin's violin concerto, Whirld, played by Alina Ibragimova.  

The Chamber Orchestra of Europe under conductor Bernard Haitink dazzled the Lucerne Festival audience with a programme of works by Mendelssohn and Schubert. 

Those concertgoers who tore themselves away from the beach could watch the glorious sunlight fade to dusk through the Bantry House Library's huge windows.

The gut strings and period bows of the Chiaroscuro Quartet cast dramatic light and shade movements on from Bach's The Art of Fugue and quartets by Fanny and Felix Mendelssohn.

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.

Lionel Bringuier and the LSO show off a dazzling palette of colours in works by Brahms, Dutilleux, and Ravel

Alina Ibragimova plays with skill but insufficient sound to fill the Royal Albert Hall; Vladimir Jurowski and the LPO blow the roof off with Shostakovich's account of the Revolution of 1905.

Pitch-perfect Bartók by Ibragimova and a boldly expansive reading of Shostakovich's Fifth by Hrůša made for an insightful evening's reflection on musical early modernity.

‘Dancing with the Orchestra’ was the last subscription concert of the Sydney Symphony Orchestra and two compositions with a focus on dance bookended Béla Bartók’s Violin Concerto no. 2. 

Alina Ibragimove reigns supreme in Symphony Hall with Brahms' Violin Concerto as Ulster Orchestra srtuggle to find the depth of emotion Sibelius deserves in Symphony No 1

Alina Ibragimova with the Scottish Ensemble perform exuberant early teenage Mendelssohn, deeply spiritual Pärt and Vasks, politically lethal Hartmann and utterly thrilling Bach.

Sir John Eliot Gardiner conducts an evening where much pomp and circumstance does little justice to the multifarious aesthetics of a great composer.

Joseph Phibbs’s Partita makes a strong impression in its première at the Barbican. 

A packed audience congregated in Wigmore Hall’s temple to pay homage at a very special concert in which Martha Argerich joined Stephen Kovacevich to mark his 75th birthday. 

A colourful concert from the Bergen Philharmonic Orchestra and Andrew Litton, which included two world premières and the fourth Proms appearance of Russian violinist Alina Ibragimova.

Jeanette Sorrell and her Cleveland Baroque band Apollo’s Fire are renowned for their inventive programming and “A Night at Bach’s Coffeehouse”, with guest soloist Alina Ibragimova, deftly offered a balanced musical diet. 

A hit in its hometown, Apollo's Fire is making believers on the festival circuit both in the US and abroad this summer.

Modern vs Baroque violin? Vibrato vs non-vibrato? Listening to Alina Ibragimova’s performance in this year’s Late Night Bach Prom series, such simplistic distinctions seemed meaningless.

This a was breathtaking but not breathless concert by Alina Ibragimova, a brilliantly accomplished individual interpretation of three of Bach's solo partitas and sonatas for violin.

Violinist Alina Ibragimova captures both the virtuosity and poetry of the Sibelius concerto, while Juanjo Mena has a firm grasp of the architecture of Schoenberg's Pelleas and Melisande.

As birthday parties go, this was a damp squib. Alina Ibragimova and Cédric Tiberghien presented eight violin sonatas, of which five were from Mozart's childhood. 

A series of three concerts over the course of one weekend, designed to reflect upon and champion the work of the Borletti-Buitoni Trust, which has supported a significant number of worthy performers in its first ten years, was always going to present an interesting range of repertoire – if not something of a conundrum for those planning the programming of the concerts.

Alina Ibragimova barely glanced up from her score during her Bach concerto with Britten Sinfonia last night, and the result was some of the most intense, beautiful music-making I can recall hearing.

Pleasantly enough, Britten Sinfonia went down a thoroughly unconventional route in celebrating their 20th birthday at the Barbican on Saturday, with a brilliantly varied range of new pieces mixing with chamber orchestra classics.

John Cage's unusual approach to composition is somewhat infamous. Thanks to his piano work 4'33" he's been firmly placed on the musical map as something of an oddball, and while that particular work may take his eccentric style to the extreme, the methods underlying his other works are equally intriguing.

St David’s Hall’s International Concert Series continued tonight, transporting the audience on a journey around Europe. This was the Orchestre National du Capitole de Toulouse’s debut performance in Cardiff, and their first tour of the UK.

Violinist Alina Ibragimova and pianist Cédric Tiberghien formed their duo partnership when they were both BBC New Generation Artists and have since been hailed as the up-and-coming duo, but Thursday’s recital at Wigmore Hall showed the amazing maturity of their partnership.

Following Alina Ibragimova’s recent residency in the medieval Library of Chetham’s School during the Manchester International Festival, her programme of some of the most complex solo violin works has now transferred for a short spell at Wilton’s Music Hall as part of the Barbican’s summer Blaze festival.

Shostakovich's 5th symphony is a work of great power, great variety and uncertain meaning. Written in 1937 when the composer was in fear for his life after Stalin's violent reaction to his opera Lady Macbeth of Mtsensk, there is no way of knowing for sure the extent to which the music is infused by irony or pain. If there was irony, Stalin didn't spot it.

Renouvelés par l'arrivée de Charlotte Saluste-Bridoux (ex-membre du Quatuor Confluence), les Chiaroscuro ont livré une très belle lecture du Quatuor K.421 de Mozart avant de montrer leurs limites dans Beethoven.

Au sein de la série de concerts organisés par Les Grands Interprètes, la phalange écossaise et son directeur musical ont fait forte impression en compagnie de la brillante violoniste Alina Ibragimova.