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Candida Thompson’s performance of Pärt’s Spiegel im Spiegel with understated beauty, immaculate phrasing and restrained emotion, steals the show.

Soloists and choir, headed by a spellbinding Christian Gerhaher, brought real lustre to Schumann’s treatment of Goethe’s magnum opus.

In his 2016 opera Blank Out, Dutch composer Michel van der Aa has managed to create a new kind of operatic ‘reality’ that resonates powerfully with today’s Zeitgeist. Highly recommended.

Bach’s Magnificat featured superlative solos from both singers and musicians, but the RCO and Iván Fischer reached a higher plane in a beautifully crafted and optimistic Brahms’ First Symphony.

Superlative vocal and instrumental soloists, led by Michael Schade as a vividly intense Evangelist, impress in Bach’s St John Passion at the Concertgebouw.

Robert White's Lamentations bring a programme of English polyphony to a memorable climax.

In “Far from Home” reed quintet Calefax and the Nederlands Kamerkoor performed music around the theme of loneliness, loss and exile.

The Koorbiënnale in Haarlem is a biannual festival, organized for the sixth time this year. The opening night consisted of four exciting modern pieces and the world premiere of a new work by the Latvian composer Ēriks Eŝenvalds. The first piece played was Daan Manneke’s Topos for chorus and harmonium. It is a song cycle set to four poems by Arthur Rimbaud.

Joey Roukens' Requiem ist eine abwechslungsreiche und tröstliche intime Komposition.

Katrien Baerts und die Musiker vom Asko|Schönberg zischten und swingten um die Wette, dass es vom ersten Moment an ein ansteckender musikalischer Genuss war.

Matthias Pintscher wusste als dirigierender Komponist zusammen mit Leila Josefowicz, der außergewöhnlichen Solistin seines Violinkonzerts und dem RCO Beeindruckendes auf die Bühne zu bringen.

Das Concerto Copenhagen unter der Leitung von Lars Ulrik Mortensen eröffnet mit Israel in Egypt das diesjährige Resonanzen-Festival.