Live, Video: Find classical music concert, opera, ballet and dance reviews | Daniel Harding

Håkan Hardenberger is a phenomenon of the trumpet, but long stretches of Widmann'sTowards Paradise fail to impress, as does a rather tame Mahler 5 from Daniel Harding and the LSO.

Argerich shows her full artistry, while Europe's young musicians show impressive coordination and dynamics, if short of emotion in Beethoven 7.

Daniel Harding made a memorable debut with the Czech Philharmonic, aided by a superb chorus and cast of singers.

The Dutch orchestra brings a pair of 19th-century German classics on its first visit to the Barbican for six years. 

Daniel Harding and Antoine Tamestit impress in their Cleveland Orchestra debuts, tackling the complexities of a Widmann concerto and a Strauss tone poem.

Embraced by Daniel Harding, Ian Bostridge, Christian Tetzlaff, Alban Gerhardt and Paul Lewis, the Parisian ensemble gives an exceptional concert, faithful to Lars Vogt’s way of making music.

Daniel Harding and the Swedish Radio Symphony Orchestra bring their own fireworks to the festival finale.

Stepping in for Kirill Petrenko, Daniel Harding conducts the Berlin Phil's “army of generals” in an unfussy Bruckner Four, while Tabea Zimmermann plays Schnittke's Viola Concerto.

On the surface, this Verbier Festival program looked mild (Brahms and Beethoven), but in performance, it had the effect of dropping a lit match into a crate full of fireworks.

An all-day Beethoven experience European style with both highs and lows: much diversity revealed and exploited but of variable quality.

In charge of La Scala forces, Daniel Harding finds gloom in the overture to Der Freischütz but keeps it in check in one of the world's most popular symphonies.

Despite extraordinary legato singing and transparent text work, Christian Gerharer offered an oddly mannered interpretation of the Rückert-Lieder.

Andrew Staples creates an austere, monochrome semi-staging that's strangely appropriate to the times; Peter Mattei and John Lundgren lead an excellent cast.

Although filled with beauty and sweetly played, the fragmentation of the symphony felt too disruptive.

It was evident from the first bars that Strauss' An Alpine Symphony is a score about which Daniel Harding cares deeply.

Christiane Karg is the resplendent soprano in a wonderful performance of Mahler's Fourth at the Konzerthaus.

Daniel Harding conducts a handsome, moving account of Berlioz' Symphonie dramatique with the Berliner Philharmoniker. 

The performance was technically flawless, but left our reviewer unmoved.

Harding demonstrates how this orchestra have improved under his leadership, but Tamestit's theatrics don't help.

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

A superb choral performance and some memorable solo moments bring Mahler's "Symphony of a Thousand" to life, even if the sheer energy of the Swedish Radio Symphony Orchestra turns frantic at times.

Harding's grasp of the work's architecture that provides overall coherence. That, combined with the pithy, pulsing core he forges at its heart, makes this performance as engaging as it is polished.

Schubert song orchestrations with Gerald Finley are not wholly convincing, but the Berliner's virtuosity sweeps all before it in Strauss's Alpensinfonie.

The Vienna Philharmonic show themselves to be much more than a straight romantic band; individual musicianship shines through Mahler's tragic Sixth.

A startling new work from Jörg Widmann follows disciplined Beethoven at the Philharmonie. 

The London Symphony Orchestra under their Principal Guest Conductor Daniel Harding perform Mahler's Fourth and a world première as well as accompanying Nikolaj Znaider in Sibelius' Violin Concerto.

Daniel Harding and the LSO gave a spirited performance of Dvořák's folk-inspired Eighth Symphony, while Lisa Batiashvili lived and breathed Bartók's lovestruck infatuation in his First Violin Concerto.

Harding's brisk, unsentimental reading proves only intermittently successful, but is redeemed by excellent singing.

Daniel Harding's love for Schumann's genre-defying work brought some strong playing from the LSO and deeply moving singing from his soloists and chorus.

Two composers at the opposite end of their careers form an interesting pairing but one that doesn't quite add up to a convincing whole. 

Delicate Mozart from Maria João Pires makes up for an aggressive Bruckner 4 from the LSO and Daniel Harding. 

Ahead of its late-summer tour, the Royal Concertgebouw Orchestra warms up with two programmes in what are considered high points of the Robeco Summer Nights. 

Performing a world première alongside two old favourites, Daniel Harding and the London Symphony Orchestra stirred up a Lucerne audience on all three counts.

Sunday night's concert saw the LSO on top form, however their partnerships with Christian Tetzlaff and LSO Chorus on either side of the interval produced mixed results. 

The late withdrawal of a conductor could indeed be tragic, especially when the work in question is as open to individual interpretation as Mahler's Sixth Symphony. However, Daniel Harding does a superlative job with the Berlin Philharmonic.

Daniel Harding's daring, risky interpretation of Mahler's monumental Ninth Symphony pays off to give an emotionally draining, intense performance.

Daniel Harding and the Swedish Radio Symphony Orchestra gave an oddly-staged, at times erractic, performance of the “Resurrection” Symphony that failed to completely encapulsate Mahler's vision. 

In one of the most fascinating resorts on the Neapolitan southern coast, the amazing London Symphony Orchestra performed Maher's First Symphony with its principal guest conductor.

Two strange bedfellows – Penderecki and Bruckner – brought together in the acoustically awkward, if architecturally spectacular surrounding of St Pauls Cathedral by Daniel Harding and the LSO as part of the City of London Festival.

The LSO, under Daniel Harding, gives the world première of Huw Watkins’ impressive Flute Concerto, before offering a spectacular performance of Mahler’s Symphony no.1.

Daniel Harding and the London Symphony Orchestra again paired Schubert with a late Romantic, this time Richard Wagner, and the second act of Tristan und Isolde. The orchestra were on a form it would be hard to match.

Wednesday night’s concert saw the London Symphony Orchestra with principal guest conductor Daniel Harding in what seemed a slightly odd programme, pairing Schubert’s Fifth with Mahler’s Das Lied von der Erde.

After all that tonal instability in last week’s Wagner marathon at the Proms, Daniel Harding and the Mahler Chamber Orchestra’s programme celebrating C major came as a breath of fresh air. The Royal Albert Hall had cooled down a bit too.

For the second of their two Sydney programs, the Mahler Chamber Orchestra pretty much replicated the layout of the first: a short modernist work, a concerto featuring a string instrument, and, in the second half, a big romantic symphony.

“Europe’s answer to the ACO” was how composer Brett Dean described the Mahler Chamber Orchestra before its first concert in Sydney. Despite the similarity in names, the two are very different ensembles.

Mark-Anthony Turnage and the London Symphony Orchestra, conducted by Daniel Harding, have thoroughly dominated this week in the Barbican Hall. Firstly with a high-profile performance of the composer’s trumpet concerto From the Wreckage on Tuesday, and then the first performance of his new, purely orchestral piece Speranza on the Thursday.

Tuesday evening’s concert was technically the start of a short residency for Mark-Anthony Turnage with the London Symphony Orchestra, but a smouldering performance on the podium from Daniel Harding came close to drawing attention away from the featured composer.

Richard Strauss and Hugo von Hofmannsthal’s Ariadne auf Naxos was first performed in 1912, in a production directed by Max Reinhardt. Unlike the version usually seen today, this first Ariadne was a long-winded play-opera-ballet hybrid, incorporating a full production of Molière’s Le bourgeois gentilhomme with dances to incidental music by Strauss followed by the short opera.