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Sheku Kanneh-Mason and the CBSO give a flat rendition of Haydn in an otherwise emotionally-conflicted, moving evening featuring Weinberg, Elgar and Thomas Adès.

Elizabeth Watts gives an unforgettably powerful performance of Finzi’s Dies Natalis in an otherwise problematic concert, marred by Adrian Partington’s uncertain approach.

Vasily Petrenko continues his ‘Great British Music’ series with the Royal Philharmonic Orchestra, but with an aptly programmed Russian concerto. 

The Berlin Philharmonic, reunited with its former chief conductor Sir Simon Rattle, framed Britten’s Serenade, commandingly sung by tenor Andrew Staples, with two complementary sets of orchestral variations.

Before the pandemic, it was easy to take concert-going for granted, that communal sharing of classical music. One day after the easing of lockdown, the London Symphony Orchestra returned to its Barbican home to play for an audience for the first time since 15th March 2020. 

A celebration of young Latvian musicians and established Latvian artists performing a huge variety of works from Vivaldi to Stevie Wonder: how about that for something completely different?

Tchaikovsky’s warhorse piano concerto is given a performance stripped of all showmanship. Britten’s The Young Person’s Guide to the Orchestra completes this oddly programmed concert from the RLPO.

Sir Andrew Davis led the BBC SO in a recreation of Sir Malcolm Sargent's 500th Prom, a lengthy programme that failed to inspire.

Marie-Nicole Lemieux and Yannick Nézet-Séguin score personal triumphs with l’Orchestre Métropolitain in their first concert together in thirteen years.

Last night’s concert by the Hallé, this season’s first guest orchestra to visit Sage Gateshead, was all about youth: a young conductor, a young soloist, a young composer, and music written for a young audience. There were even a few young faces in the large audience.

There can be few openings which get as briskly down to business as Britten’s 1946 The Young Person’s Guide to the Orchestra. Peter Oundjian and the RSNO exploded into the minor-key Rondeau, which Britten had borrowed from Purcell’s 1695 Abdelazer Z. 750.

Peter Oundjian chose to open his tenth season as Music Director of the Toronto Symphony with a work he characterized as “ebullient”, and, truth be told, under Maestro Oundjian’s baton, it bubbled like a glass of champagne.Britten’s Variations and Fugue on a theme by Purcell (1946), a.k.a.

Three separate standing ovations answered the first concert of the Simón Bolívar Symphony Orchestra's London residency, in which they played Beethoven and Britten with all of their trademark joie de vivre and panache.

Can a concert have ever been so eagerly anticipated? In 2006 Richard Holloway, then chair of the Scottish Arts Council, went on a fact-finding visit to Venezuela to look at El Sistema, where intensive classical music tuition in schools and the formation of orchestras has developed a successful track record of transforming attitudes in desperately poor and violent communities.

The Last Night of the Proms isn't really a concert: it's more like going to the cast party for the Proms season.

Those of us who are regulars at the Royal Albert Hall know how difficult it can be for an orchestra and choir to really fill that enormous space with sound.

La London Symphony Orchestra con su director, Sir Simon Rattle, presentaron en el Festival de Santander un ecléctico programa que brilló por su perfección técnica y sinceridad.

Pari à demi réussi pour un concert Chostakovich/Britten à la Philharmonie. Xavier Phillips met Chostakovich à l'honneur, Shi-Yeon Sung échoue à s'approprier Britten.