Live, On demand, Streamed event: Find classical music concert, opera, ballet and dance reviews | Symphony no. 41 in C major, "Jupiter”, K551

Christian Ihle Hadland’s piano sparkled in Ravel sandwiched by lively and joyful Rameau and Mozart.

While Herreweghe’s approach wasn’t always a successful one, when it was the results were marvelous – particularly in the Jupiter Symphony and Isabelle Faust’s take on the Beethoven Violin Concerto.

The Aurora Orchestra and Collon engage audiences new and old with infectiously joyful Mozart and intensely virtuosic Adès, with Pekka Kuusisto.

Inferno, after Dante's Divine Comedy, is a 46-minute ballet score rich in astounding, ingenious, sumptuous effects with a particular genius for unlikely combinations of instruments, and only a few obvious Lisztian references.

Gabriel Bebeşelea's debut with the RPO brought two composers from his native Romania – George Enescu and Ciprian Porumbescu – and paired them with Mozart and Saint-Saëns in an interesting, albeit patchy concert.

A fresh approach to two late Mozart works earned the adulation of a Montreal Symphony Orchestra audience.

A giant step in Hong Kong's Sinfonietta's journey to musical maturity with this programme of Webern, Beethoven and Mozart.

Herreweghe’s lifelong artistry of concentration, clarity and intimacy was nowhere better demonstrated than in an exalted account of Mozart's last symphony. 

Francesco Piemontesi performed Brahms’ monumental second concerto with captivating results, followed by Andrew Manze’s carefully considered interpretation of Mozart’s Jupiter symphony in Liverpool’s Philharmonic Hall.

Mozart's final three symphonies make for a brilliant opening to the Australian Chamber Orchestra's London residency. 

A showcase of Jörg Widmann’s talents as composer, conductor and clarinettist in works by Mozart, Weber and himself

Blomstedt gives an exhilarating reading of three of Mozart’s C major symphonies.

Last night in Sweden: Daniel Barenboim and the West-Eastern Divan Orchestra make a performance of Strauss' Don Quixote to remember at the Stockholm Concert Hall.

Rewarding programme contrasting First and Second Viennese schools opens Berlin's 2017 Festtage.

A high-level concert with some interesting choices of interpretation – sometimes fascinating, sometimes a bit too bold.

Nicholas Collon and his Aurora Orchestra remind us that classical music is still made by us, for us, in Rihm, Strauss and Mozart.

Christoph von Dohnányi conducted the CSO in a pair of Mozart symphonies along with a Beethoven piano concerto, the latter with Martin Helmchen in an impressive CSO debut.

Sir John Eliot Gardiner conducts the English Baroque Soloists through three Mozart Symphonies in one evening, educating along the way.

In a gilt-edged programme, Iván Fischer and Jean-Yves Thibaudet honoured the audience of the Great Hall with a splendid initiation of the New Year.

Joined by soloist Alexander Melnikov, Seattle Symphony and Ludovic Morlot find the right key for a programme of works classical and neoclassical. 

Combining instruments and performing practices old and new, Richard Tognetti and the Australian Chamber Orchestra render Mozart symphonies with panache.

The “Jupiter” and “Alpine” Symphonies impress at Cleveland’s Severance Hall.

The celebratory, cerebral and contradictory elements inherent in this diverse programme of Haydn, Mozart, Poulenc and Stravinsky didn’t quite disguise some uneven performances in Søndergård’s third prom concert.

An all-Mozart Filarmonica della Scala concert with soloists Vilde Frang and Hanna-Elisabeth Müller under conductor Marc Minkowski's lacked cohesion.

Bogotá has plenty of superb artists in its mammoth Mozart-fest, but there can be no finer exponents of Viennese style than the Vienna Chamber Orchestra. 

Thomas Søndergård's over-subtle touch in conducting Haydn, Beethoven and Mozart has some delicate colouring but fails to reach the deeper drama.

Besides the complete Ravel ballet, Franz Welser-Möst and Clevelanders also give a crisp account of Mozart's "Jupiter" symphony.

His passing last August was no surprise. Anyone who had witnessed Frans Brüggen conduct in recent years knew that he was far from healthy and old for his years.

The wide variety of music Vienna has provided over the last couple of centuries was effectively on display here in Auckland.

A satisfying, but uninvolving, evening of familiar and well-loved Mozart symphonies. 

La Verdi show off their signature sound in a programme designed to display their broad resources.

The pure joy that Mozart’s music can bring was emphasized in the Zurich Chamber Orchestra's concert at Cadogan Hall in London, featuring pianist Jonathan Biss and conducted by Sir Roger Norrington.

The Klassische Philharmonie Bonn performs Respighi, Beethoven and Mozart in Berlin's Konzerthaus.

Young Russian soprano Julia Novikova performed twice at the Northern Lights Festival in Tromsø, the capital of northern Norway, this past week, treating the attentive and devoted audiences to a diverse set of songs.

Maria João Pires plays Beethoven Piano Concerto No.2 with the Vienna Symphony Orchestra and Adám Fischer. Haydn and Mozart top up a Viennese evening.

The Camerata Salzburg’s evening of Mozart, Enescu and Vaughan Williams at Berlin’s Konzerthaus was a crisp and bubbling performance that stimulated the intellect as well as the emotions. Beginning the evening with George Enescu’s Two Intermezzi for String Orchestra, the Camerata swept audience members away into a world gone, but too lovely to be forgotten.

The billing looked intriguing enough: Kevin Griffiths – the young London-born conductor, celebrated for his dedication to contemporary music, coupled with his fellow countryman Paul Lewis – one of today’s prominent performers of Beethoven and particularly Schubert, in an evening dedicated to Mozart’s music.

Fifteen years ago I sat dutifully listening to the excellent Haringey Schools Orchestra nobly attempting to bring off the herculean musical feat of the Shostakovich Fifth Symphony. Many hours of coaching and rehearsal had clearly brought the youngsters to this point. Proud parents and friends fidgeted through the painful 55 minutes, and everyone clapped appreciatively when it ended.

The youthful, up-and-coming orchestral ensemble, Les Vents Atlantiques, presented a riveting program this weekend to an eager audience. Performing chamber and orchestral repertoire from the late eighteenth to mid-nineteenth centuries, the group was led by violinist Rebecca Huber.

Verdi and Wagner may be turning 200 in 2013, but certainly that doesn’t make their music any more or less worth celebrating than it was last year, or will be in five years’ time.

Bach, Brahms, Beethoven and Mozart: four insurmountable composers, each a titan of classical music in his own right. Every one of these composers would normally dominate a position of focus in a classical concert programme. It is rare, therefore, to see these composers side by side in a concert, simply due to a need for variety and not a heavy-handed evening filled with canonical works.

Why would the London Symphony Orchestra pair Mozart’s Symphony no. 41 in C major, “Jupiter” and Mahler’s songs from Des Knaben Wunderhorn? There seemed to be no direct link between them other than that both demonstrate their composers’ fondness for mystery.

Good programming makes for a good concert. Chosen works must fit well together, providing enough musical contrast to keep things interesting, but they must not be so different as to jar listeners with alien soundworlds. All too often, organisers whip up concerts in which any link between pieces are entirely superficial and completely amusical.

Picture the scene: Dunbar Parish Church nearing the end of major renovation. Looking heavenward, one sees two RSJ-type structures which appear to have facilitated the removal of all impediments to vision and light, the latter refracted through stained glass windows. In one corner of of the resulting square, facing the opposite corner, sit the Scottish Chamber Orchestra.

The Violons du Roy along with conductor Bernard Labadie offered a concert of Mozart’s last three symphonies tonight in the Maison Symphonique de Montréal. An apt program, these three symphonies were written by Mozart in rapid succession in the summer of 1788. Mozart’s fabled swiftness as a composer, and the relative ease with which he wrote, did not lead to mediocrity in any of his works.

The Toronto Symphony Orchestra kicked off their new year with the Mozart@256 Festival. Thursday night’s concert warmly welcomed guest conductor and pianist Leon Fleisher, as well as pianists Stewart Goodyear and Katherine Jacobson Fleisher. Leon Fleisher, at 83 years of age, continues to wow audiences around the world as a conductor, soloist, recitalist, chamber musician and masterclass mentor.

If only Mozart could’ve been there! Had he only one concert to attend from beyond the grave, Wolfgang could have done worse than head to Coventry Cathedral and its sumptuous acoustic on Saturday night. Here he would have been treated to a performance of his final symphony, no.41 ‘Jupiter’ – never heard in his lifetime – alongside his 'Great' Mass in C minor – which he never completed.

The Hong Kong Philharmonic Orchestra clearly wore its heart on its sleeves in naming the opening concert for the 2011/12 season “Heaven and Earth”. There could be no mistake in matching the works to the title. Saturday’s performance showcased the versatility and maturity of the orchestra in handling sharply divergent artistic intentions. When they wrote their Symphony No.