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A “Sound Unwrapped” programme, featuring Aurora Orchestra's trimmed line-up of five musicians and one sound engineer on electronics, proves to be an absolute success. 

A blinder of a first half, but Aurora score an own-goal in the second with Anna Meredith's Anno. 

Two distinctly different halves to this evening in Kings Hall: chamber delicacy and subtlety in Ligeti and CPE Bach, and a barnstorming approach in Schubert's greatest symphony.

Britten and Shostakovich rub shoulders at Kings Place in a programme that careers into darkness with the latter's desolate Fourteenth Symphony. 

Oliver Mears' new production of Britten's chamber opera is a visceral reflection on tyranny and sexual violence.

Valeriy Sokolov explores the loneliness of the long-distance runner in Tchaikovsky's Violin Concerto, while the formidable artistic partnership of Nicholas Collon and Aurora Orchestra come up trumps in Shostakovich's Ninth Symphony.

Forget those po-faced tenors of yore; this is joyous music and Allan Clayton was just the man to deliver it.

Imaginative programming from Aurora Orchestra, including striking miniatures from Musgrave and Meredith, luxurious Ravel and pared back Vaughan Williams, with joyous Mendelssohn to finish.

Steven Osborne and players from Aurora Orchestra take our emotions in opposite directions at Kings Place.

The streamed concert showed the Aurora players' prowess as chamber musicians, joined by the excellent Swiss pianist in music by Mozart, Ravel and a specially commissioned new work by Sasha Scott.

In our Covid-infested world, quality music making is still possible, as demonstrated by Imogen Cooper and her Aurora Orchestra friends. 

Nicholas Collon leads Auorora Orchestra through an effervescent account of Beethoven's Seventh Symphony. 

A month into the year-long "Nature Unwrapped" programme at Kings Place, it was the turn of its resident Aurora Orchestra to contribute to the series.

Aurora Orchestra prove too muscular for accompanying voices in Wigmore Hall, but Stephenson's setting of Rimbaud's poetry is impressive.

Nicholas Collon decides that Mendelssohn is really a very revolutionary composer, while Amy Dickson's saxophone and Ronald Brautigam in Mozart provide vibrant contrasts.

Berlioz on acid: Nicholas Collon and Mathew Baynton lead the Proms audience through the streets of Paris before a wild ride through the Symphonie fantastique.

The Aurora Orchestra and Collon engage audiences new and old with infectiously joyful Mozart and intensely virtuosic Adès, with Pekka Kuusisto.

Missy Mazzoli's double bass concerto receives its UK premiere as part of Kings Place's Venus Unwrapped season. 

The Linbury re-opens its doors to opera with a new work whose libretto is superbly crafted by Francesca Simon, featuring a tour de force performance by Marta Fontanals-Simmons as the Norse goddess Hel.

The Aurora Orchestra performed and supported a teeming program that took in Norwegian/Appalachian folk music, Mahler and a world premiere.

Imogen Cooper shone in Aurora's serious and fulsome performances of Mozart.

An adventurous and unusual end to Kings Place's Time Unwrapped series and some striking collaborations with Aurora Orchestra.

Smoke and Mirrors in the title, but nothing unreal about the performances at the Southbank.

Mary Bevan’s bewitching soprano is the star of a glorious programme of music by Ravel and his contemporaries.

A remarkable feat of memorisation – a whole orchestra and no music! – made for an illuminating and exciting introduction to the Soviet composer's “victory” symphony.

Not even the BAFTAs going on next door offered the star quality on display in the QEH.

The Aurora Orchestra's principals and pianist Shai Wosner present a programme of chamber works that balance light and dark hues.

Das Lied von der Erde may have been down-sized but it lost none of its stature in the Aurora Orchestra’s performance of a chamber arrangement of Mahler’s great song-symphony.

High wire Beethoven from Nicolas Collon and the Aurora Orchestra, truly live in every sense, with an entertaining deconstructed introduction from Collon with Tom Service.

With a combined age of 161 years, John Copley and Steuart Bedford certainly bring ample experience to Grange Festival's new production of Britten's Albert Herring. 

“Are you sitting comfortably? Then we'll begin.” Storytime with the Aurora Orchestra proved a delight. 

This evening’s performance marked the next stop on the Aurora Orchestra’s Grand Tour, continuing a five-year journey through the complete cycle of Mozart’s piano concertos. 

Nicholas Collon and his Aurora Orchestra remind us that classical music is still made by us, for us, in Rihm, Strauss and Mozart.

An evening of exceptional originality and daring in Snape Maltings – not to mention glorious music – got the Aldeburgh Festival off to a striking start for the 2016 season.

The Aurora Orchestra defies tradition and turns Britten’s ghostly Turn of the Screw into a kind of a dramatic ‘installation’

The maverick Aurora Orchestra returns to the Proms, and doesn't disappoint.

In an evening entitled “Pulse: Steve Reich and his influences”, the Aurora Orchestra set out to give three examples of pieces that influenced American minimalist composer Steve Reich alongside performing two of his pieces.

The Aurora orchestra chose one of the most eclectic mixes of music that St George’s has seen in a classic music concert inspired by the home, opening the eyes of Bristol to a strange variety of pieces. 

Infectious energy from musicians who breezed through a diverse and challenging programme without music stands or chairs, in which Benedict Mason displayed his originality.

Aurora Orchestra and Dawn Landes take us on a road trip across America, with music from John Adams, Charles Ives and Aaron Copland.

J S Bach's opus ultimum, the Mass in B Minor, was also the opus ultimum of the year-long Bach Unwrapped series at Kings Place. Unfortunately, it proved not to be the crowning glory it might have been.

With a debut opera for ENO in the pipeline for next year and residencies with both Wigmore Hall and the London Philharmonic Orchestra, things are currently looking bright for Julian Anderson. To celebrate this, Wigmore Hall turned 2 November into Julian Anderson Day, devoting two concerts and a talk to exploring his music.

After the epic grandeur, sweep and immersive quality of Gesang der Jünglinge at this summer’s Proms, this performance as part of Southbank Centre’s The Rest is Noise festival had a lot to live up to. In many ways, however, this far less ostentatious outing overseen by Sound Intermedia got even closer to the work’s disturbing essence.

I was fortunate to see Wayne McGregor’s choreography set on the San Francisco Ballet several years back, so I was eager to see Random Works, which was performed this past weekend in Kings Place’s Hall One. Random Works wasn’t McGregor’s choreography, but rather the work of ten young choreographers. McGregor is listed as the programme’s curator.

It would probably be a mistake to take Frank Zappa’s The Adventures of Greggery Peccary too seriously. True, musically it is highly taxing in its orchestral transcription by Ali N. Askin, and there’s absolutely no denying the seriousness of Zappa as a musician generally. But this is Zappa in full-on nonsense mode.Greggery Peccary is a pig of some sort, who works in an office, or something.

“Imitation is the sincerest form of flattery”, goes the familiar phrase, and that can be applied in life to any number of things, including music. Were the father of harmony, Johann Sebastian Bach, still alive today, he would be beyond flattered.

You are sitting in the choir stalls of the Royal Festival Hall, watching the ceramic artist and writer Edmund de Waal address you, his back to an enormous sea of empty, grey, imposing seats. He is delivering a vivid narrative account of a day in the life of a young aristocratic Jewish boy in early 20th-century Vienna.

With its small raised platform and steeply seated audience, the Linbury Studio Theatre was an auspicious venue for the English Touring Opera’s production of Peter Maxwell Davies’ chamber opera The Lighthouse (1979). The trelliswork of metal bars encircling the stalls and the bleak lighting effects gave this performance a befittingly industrial air.

“Community, exclusion, rejection and desire”, writes director Christopher Rolls about English Touring Opera’s production of Albert Herring. “Doesn’t sound like a recipe for an uproarious comedy does it? And the key thing about Herring is that it is very very funny.

When Emperor Überall decrees an all-pervasive war that will result in the death of his whole population, Death takes umbrage at the fact that his job is being usurped and, in the mother of all demarcation disputes, goes on strike.