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What fills a large London concert hall? It could be time for a rethink.

Someone at New York City Ballet needs to believe in Orpheus before they present it again.

New York City Ballet marked its 75th anniversary with the same triple bill that caused so much excitement at City Center in 1948: Orpheus, Concerto Barocco and Symphony in C.

A Greek-themed triple bill is presented with mixed success, although Agon still stands up well, with Unity Phelan making her debut in the central pas de deux.

Salonen brings his Stravinsky retrospective to a close with a pair of Greek-inspired scores. 

Andrei Ioniţă proved to be an ideal interpreter of Dvorak's Cello Concerto in a concert that also included a magnificent performance of Martinů's Fourth Symphony.

Vladimir Jurowski led the LPO in a thoughtful and though-provoking concert that paired Beethoven's only full-length ballet, the joyous and energetic Die Geschöpfe des Prometheus with Stravinsky's cool and melancholy Orpheus.

Canny programming very much shone the spotlight on the performance of John Adams recent ‘dramatic symphony’ Scheherazade.2, preceded by Bartok and Stravinsky rarities.

As Esa-Pekka Salonen resumes his Stravinsky series, he turns his attention to three underperformed works based on key figures of Greek mythology: Orpheus, Apollo and Persephone.

Birtwistle’s Responses poses more questions than it answers, but Aimard’s Messiaen was a triumph.