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In between the two symphonies, there was an extra Sibelius item, and this time it was a novelty.

Oramo's structural insight ensures ideal tempo relations between sections, so crucial in Sibelius.

In this second of Oramo's farewell concerts, the RSPO play Sibelius' Third and Fourth Symphonies; Anu Komsi sings a compelling Luonnotar.

The finale’s thrilling ardour was not diminished in the empty hall, as we approached the triumphant ending that Sibelius, despite being armed with bass drum, cymbal and triangle, omitted to write. 

Peter Mattei excels in five songs by Mahler and Manfred Honeck guides the Royal Stockholm Philharmonic Orchestra through an unruffled account of Brahms' First Symphony.

The Royal Stockholm Philharmonic Orchestra's superb playing is constrained by the limits of streaming. 

Excellent playing from The Royal Stockholm Philharmonic and an interesting programme of less familiar works by familiar composers, made for an exhilarating musical experience.

Two symphonies composed in 1842 were an interesting programming premise but the execution was something of a letdown, with musical subtlety in short supply.

Four Ravel masterpieces shine anew in fresh, vibrant interpretations by Bertrand Chamayou, Sakari Oramo and the Royal Stockholm Philharmonic.

Beethoven's Fourth Piano Concerto is programmed with two works by composers esteemed in their era, but largely forgotten by concert goers over the past half-century. 

Everything about Dvořák's Cello Concerto with the Royal Stockholm Philharmonic Orchestra was special.

Katarina Karnéus displayed sovereign English diction, elegant musicianship and a sense of dramatic scale in Sea Pictures.

The Roussel Bacchus et Ariane was the standout performance in a trio of French orchestral works presented by Alan Gilbert and the Royal Stockholm Philharmonic Orchestra. 

Karina Canellakis leads the Royal Stockholm Philharmonic Orchestra in Wagner and Strauss with style and sophistication.

Manze and the orchestra evoked with accuracy the shifting moods and the underlying tensions that mark the score of Les Illuminations.

Works by Rolf Liebermann, Mozart and Mahler recently brought down the house at Zurich’s Tonhalle Maag, in no small part because of Martin Fröst’s illuminating performance.

The much anticipated Austrian conductor strikes home with Shostakovich and Beethoven as a side dish in Stockholm.

An eclectic programme from this Swedish orchestra which gave sharply defined performances in repertoire that, at first glance, had seemingly little in common.

Renée Fleming sings Barber and Strauss at the Concertgebouw.

Twenty-first century Stockholm or fin de siècle Paris? Works by Ravel, Debussy and Schmitt take the audience back to the times of the French avant-garde.

Iréne Theorin gives a powerful interpretation of Salome and Elektra's mad scenes in a concert including Also sprach Zarathustra and a contemporary composition.

Mika Eichenholz led the Kungliga Filharmonikerna and Malin Byström in the first concert of 2017 at the Stockholm Concert Hall.

The RSPO's brass section is outstanding in Sakari Oramo's clear, detailed and particularly Nordic reading of Bruckner 5.

Sixty years after his debut with the Swedish Royal Philharmonic Orchestra, 87 year old Herbert Blomstedt conducted the orchestra in the very same programme in a sold out Stockholm Concert Hall. 

I often think you can tell the quality of an orchestra by looking at the back desks of its string sections, and the players on the fringes of the Royal Stockholm Philharmonic play with as much vigour as those at the front; their joy in the music is both visible and audible. The result is a strong and complex string sound, well blended, but with a coolness you don’t get from most German orchestras.

Perelman Stage at Carnegie Hall is by no means a modest-sized concert stage, and the Royal Stockholm Philharmonic Orchestra seemed to take up every square inch of it. The sheer size of the orchestra is initially what struck me, until the opening lines of Rolf Martinsson’s Open Mind, Op. 71.

In ihrem neuen Werk schöpft die finnische Komponistin Outi Tarkiainen die klanglichen Möglichkeiten des klassischen Orchester perfekt aus.

Alan Gilbert und das Königliche Philharmonische Orchester in einer schwelgerischen Wiedergabe von Mahlers populärer „Wunderhorn”-Symphonie.

Sous la direction de Sakari Oramo, l'Orchestre Philharmonique Royal de Stockholm propose une Symphonie n° 1 de Mahler bien morne. Compensée heureusement par la clarinette stratosphérique de Martin Fröst dans Mozart.

Oramo condujo de forma vibrante, extrayendo de cada atril precisión y concentración, que se tradujeron en interlocución sublime con la voz desgranada por Luganski. Merece ser resaltado el asombroso dominio del cambio de compás, incesante y libre de devaneos o incertidumbres en los engarces.

Unter dem Taktstock von Sakari Oramo gab die Königliche Philharmonie aus Stockholm ihr jährliches Gastspiel in Göteborg. Neben einem Stück von Anders Hillborg wurde mit der Fünften Symphonie von Sergej Prokofjew und Sibelius' Violinkonzert groß aufgespielt.