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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.

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.