Live, Video: Find classical music concert, opera, ballet and dance reviews | Symphony no. 7 in E major, WAB 107

Sunday bells call the Salzburg Festival pilgrims to the Großes Festspielhaus for late choral Verdi and Bruckner's Seventh Symphony. 

In the last of the LSO's Sydney concerts, Sir Simon Rattle's affinity with Bruckner's score results in a heartfelt performance of the Seventh Symphony.

Thrills and disappointment in equal measure in mixed performances of two core repertory works under Mark Wigglesworth at the Lighthouse, Poole. 

After their magnificent recent Sibelius Seventh, the LSO returns to the Finnish composer for a pair of tone poems, followed by Bruckner's Seventh. 

Sensitive, nuanced Bruckner from Blomstedt and a Mozartian treat from Maria João Pires.

Luisi hits just the right spot in Bruckner's mighty Seventh Symphony, his final concert as General Music Director of the Zurich Opera.

Omer Meir Wellber conducts his first Bridgewater Hall concert as Chief Conductor of the BBC Philharmonic.

Augustin Hadelich is an authoritative interpreter in Bartók's Second Violin Concerto, while Alan Gilbert and the NDR Elbphilharmonie Orchester never quite succeed in scaling the heights of Bruckner 7.

Michael Stern conducts Bruckner's Seventh and Stravinksy's Psalms.  

Abduraimov's Tchaikovsky was less a display of power and agility and more about lyricism and subtlety, without ever sliding into sentimentality.

Contrasting works as the Sydney Symphony tackles Les Offrandes oubliées and Bruckner's Seventh Symphony.

An emotional night in London as Bernard Haitink says farewell to London with grand and searching performances of Bruckner and Beethoven, with the distinguished Emanuel Ax in tow.

The Met Orchestra’s closing performance of the season saw Yannick Nézet-Séguin lead the ensemble in Mahler’s Rückert-Lieder with Elīna Garanča and an arresting Bruckner's Seventh Symphony.

Bellincampi’s way with this symphony was impressive: he knitted the composer’s sometimes diffuse structural cells into something cohesive, with no loss of tension in the various silences and odd transitional moments.

Shakespeare's witches would have felt very much at home amidst the heated landscapes on display in this LPO concert featuring Sibelius and Bruckner.

Riccardo Muti offers a non-interventionist approach in a concert showcasing a great orchestra on golden form.

Fail to inject the composer's cathedral-sized symphonic structures with a sense of rapt wonder and they can sound dull.

In the second of the two concerts this week to open the Philharmonia's season, Salonen excels in the Schoenberg, while leaving space for debate in the Bruckner.

Now entering his second season as Chief Conductor of the Deutsches Symphonie Orchester Berlin, Robin Ticciati is keen to show the breadth of his repertoire and the extent of the orchestra’s abilities. 

Pianist Alice Sara Ott and the Dresden Philharmonic at the Cologne Philharmonic

The CBSO chose a programme that was ostensibly simple, but proved to be deceptively difficult.  

MTT delivered a Bruckner Seventh equal parts lyricism and dramatic power, while guest soloist Khatia Buniatishvili beguiled with her graceful Mozart. 

The amazing phenomenon that is Herbert Blomstedt leads the Gewandhausorchester from Leipzig in Beethoven's Triple Concerto and Bruckner's mighty Seventh.

Long climbs often provide the best views. The Adagio second movement of Anton Bruckner’s Seventh Symphony bears the tempo marking Sehr feierlich und sehr langsam… and it is very solemn and very slow indeed.

Lothar Koenigs conducted the BBC Symphony Orchestra in some highly horizontal-oriented Bruckner and the UK première of a genial piano concerto from Wolfgang Rihm with soloist Nicolas Hodges

Bernard Haitink receives accolade after outstanding performances of Debussy and Bruckner.

Yefim Bronfman was the astonishing piano soloist for the Cleveland premiere of of Jörg Widmann's Trauermarsch. Franz Welser-Möst then led a transporting performance of Bruckner's Seventh Symphony.

The Filarmonica della Scala opened the season with a concert that celebrated its virtues and symbolised its ambitions. The presence of Daniel Barenboim, the former Music Director of La Scala, spoke of its inclusive doctrine.

Bruckner's Symphony no. 7 is well played, but the overall picture lacks definition; Jonathan Biss gives an engaging performance of Beethoven's Emperor Concerto.

The less than illustrious city of Linz in Upper-Austria is memorable for two significant musical legacies – local lad Anton Bruckner and Mozart’s 36th Symphony. 

Riccardo Muti inaugurated the Chicago Symphony's season with what they do best: two orchestral showpieces and a magisterial Bruckner symphony.

Berlin’s Konzerthaus Orchestra began its new season with works by two composers set against the artistic orthodoxies of their day.

Franz Welser-Möst made for great dissatisfaction in his postponed debut with the RCO. However, before the intermission in Mozart’s Second Horn Concerto, Laurens Woudenberg offered a remarkable solo.

A hard working concert from the excellent RSNO and Peter Oundjian, proved to be a very harmonious mix of mellow works by Messaien, Mozart And Bruckner.

From the very beginning, as Faust teased out the twisting opening theme, one could tell this was to be no ordinary Mendelssohn performance.

The challenges presented on this program, particularly Bruckner's Seventh Symphony, allowed the TSO to impress with their technical precision, ensemble cohesiveness and stamina.

A pair of desk partners exchanged broad grins, and a lone cellist savoured the moment with closed eyes. One violinist could be seen proudly gazing at the scene around him.

Andris Nelsons' Birmingham Bruckner is a thing of beauty to follow Stephen Hough's masterly Schumann Piano Concerto.

Kiril Karabits brings out the climaxes, in a solid performance of Bruckner's Seventh Symphony in Basingstoke, couple with Mozart's Clarinet Concerto.

The Berliner Philharmoniker peformed in memory of Claudio Abbado, but the audience seemed thoroughly elsewhere.

The most memorable thing about this concert for me was the sheer glory of the Philharmonia’s playing. Whether it was in the winning, sprightly Mozart overture, or in all the glinting colours of Peter Eötvös’ new work, or in the full and rich late-Romantic orchestral tones of the Bruckner, these musicians, conducted by Esa-Pekka Salonen, were magnificent.

The refurbishment of the University Church of St Mary the Virgin, Oxford, has been completed and it is now, once again, a glorious concert venue, well suited to the performance of a Bruckner symphony. The audience sit in the nave, the orchestra in front of them with the substantial stone organ screen that separates the nave from the chancel as an evocative backdrop.

Amsterdam audiences must be spoiled by hearing the Royal Concertgebouw Orchestra so often. In this second concert of two at Carnegie Hall, the Concertgebouw again used their immaculate sound and tonal palette to lyrical effect, this time not in Bartók and Mahler, but Strauss and Bruckner.

In 1930 a seven-year-old boy was walking along a street in the misty city of Lwów (then Poland, now Ukraine) when he heard music coming from an open window: He was transfixed: “I was in a trance. I was in heaven – the world didn’t exist for me.” So shattered was he by the experience that he fell ill with a fever.

The success of Grafenegg, a relative newcomer to the Austrian summer festival scene, lies in the timing: held in the last week of August and first week of September, the festival has become an additional tour date for international orchestras engaged at the BBC Proms and Salzburg and Lucerne festivals, as well as a stop for German orchestras looking to take their first concert of the new season on

The brass, winds and percussion of the LSO opened the concert with a powerful, dramatic rendition of Purcell’s Music for the funeral of Queen Mary, arranged to sharpen the effect for modern ears by Steven Stucky.

Bruckner wrote to the conductor, Artur Nikisch, before the first performance of his 7th Symphony in 1885 that there are many important tempo changes that should be observed, but not marked in the score. Daniel Barenboim has taken Bruckner’s advice to heart and his performance was, for the most part, masterly in its use of flexible tempi.

This concert saw the Budapest Festival Orchestra reduced to a period ensemble of fewer than ten musicians plus soloists for Bach’s cantata ‘Herr, gehe nicht ins Gericht mit deinem Knecht’, and after the interval packed closely together as they filled the large stage of the Konzerthaus with forces well in excess of the not-insignificant minimum required for a big Bruckner symphony.

This was a programme that presented what are probably each of its composers' most popular works, played by one of London’s very best orchestras, under the direction of one of Europe’s most venerable and respected conductors. Add to that the winning presence of a young and vibrant soloist, and it is not surprising that the concert was well attended.

... The ending of Symphony no. 4 by Poul Ruders, to be precise – or, just as well, the ending of the first half of this concert. Regardless of what and when, it was stunning! My joy at the start of the (insanely long) interval surprised me considering that when the piece began I was unconvinced.