Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper.
Pared-down forces of the ACO performed pared down masterpieces, in a brilliantly conceived programme which included works by Wagner, Strauss and Mozart.
Husband and wife join together with the Ulster Orchestra in Ulster Hall, at the beginning of a year-long féile pairing the music of two twentieth-century giants of symphonic repertoire.
In a failed mash-up, the Houston Symphony performed only the first movement (the three-minute “Prelude: Maestoso”) of Ives’ Fourth Symphony and continued attacca into the 80 minutes of Mahler's "Resurrection."
Works by Alban Berg and Gustav Mahler recently heralded this year’s concert season in Zurich, where Artist in Residence Janine Jansen gave a superb performance.
It was Omer Meir Wellber’s turn to conduct the City of Birmingham Symphony Orchestra in its first concert of the new season, a programme of music by Dvořák and Bartók which promised to be the perfect antidote to the Daily Grind.
The Polish National Radio Symphony Orchestra, Alexander Liebreich and soloist Szymon Nehring serve up works by four Polish composers in celebration of the centenary of Poland regaining its national independence.
All three of these musicians are virtuosic soloists in their own right, but here they became far more than the sum of their parts – graceful, poised, and sensitive.
Attentive to the dynamics and tempi, Frang meshed her violin with the orchestra, naturally coming into the footlights or receding into an accompanying role when required. In effect, the performance had a feel of an improvisation.
The Lucerne Festival audience recently celebrated a superb solo performance by cellist Kian Soltani, the 2018 winner of the annual Credit Suisse Young Artist Award, who played with the Vienna Philharmonic.
To reassure the sceptics, the break from tradition of Stijn Celis’ Your Passion is Pure Joy to Me, and Sharon Eyal’s and Gai Behar’s Half Life made for a great start to the Staatsballett Berlin’s new season.
Baiba Skride gripped the audience in Sibelius's Violin Concerto in the opening concert of this year's Sibelius Festival in Lahti, along with some rarities by the composer.
Britten's profoundly pacifist work is given a calm reading by Peter Oundjian and the RSNO: soprano Erin Wall, the RSNO Junior Chorus and the wind players provide the high spots of the evening.
Rather than compiling a Top Ten of Baroque Hits, The Enchanted Island amounts to much more than a gallimaufry of choice gobbets, seasoned with French galenterie.
The Berliners' second concert comprised the core repertoire for which they are famous, Beethoven and Strauss. Under the dynamic baton of their incoming Principal, Kirill Petrenko, these warhorses were made fresh again.
Mahler for beginners? Andris Nelsons and the Boston Symphony Orchestra provide exemplary clarity and understanding of structure, but don't hit one in the chest in the way the Third can.
For all its ambition, the première of Jesper Nordin’s Emerging from Currents and Waves at the Baltic Sea Festival consisted of little more than slick surfaces and displays of overload
A quartet of superb soloists shine through an orchestral and choral performance of great precision to bring out Verdi’s powerful evocation of the terror of eternal damnation.
The instantly-recognisable, symphonic score was given the lover’s touch by conductor, Vadim Nikitin; caressed in the melancholic, slow sections and energetically encouraged wherever appropriate
