Live, Video: Find classical music concert, opera, ballet and dance reviews | Symphony no. 4 in G major

Singing as well as conducting, Barbara Hannigan leads the GSO in symphonies by Haydn and Mahler. 

A brilliant programming decision paired Adams’s 9/11 memorial with Mahler’s life-affirming Symphony no. 4, with the fine soprano Joelle Harvey as soloist.

Christiane Karg is the resplendent soprano in a wonderful performance of Mahler's Fourth at the Konzerthaus.

The BBC Symphony Orchestra in exceptionally fine form under Semyon Bychkov explore the links from Schubert to Mahler and the present-day Glanert.

A wonderful evening of unforced, smiling music-making from Bernard Haitink, Isabelle Faust and the London Symphony Orchestra. 

Theodor Currentzis and his musicAeterna bring blistering detail and revelatory playing to Wunderhorn-period Mahler, but it ultimately proves short on warmth. 

Anna Lucia Richter provides a superb finish to a highly romantic Mahler 4 from Iván Fischer and the Budapest Festival Orchestra. 

Classy performances from Leonidas Kavakos and Ying Fang, joining Christoph Eschenbach and the Verbier Festival Orchestra in a polished Berg Violin Concerto and a sublime Mahler 4.

In a program featuring music by Mozart and Mahler, the third work – Ruggles' Evocations – was Michael Tilson Thomas' most interesting contribution.

A majestic Mahler 4 from the Philharmonia under Lahav Shani, crowned by Chen Reiss’ wide-eyed rendition of Das himmlische Leben. 

Bereft of its guiding light, the orchestra shows resiliency and promise with a familiar face at the podium.

Mirga Gražinytė-Tyla and the City of Birmingham Symphony Orchestra brought a fresh approach to Mahler's Fourth Symphony and the harp took centre stage for a change with a concerto première.  

The Concertgebouw and Daniele Gatti paint two very different pictures of Old Vienna: a maddeningly lifeless view of a Haydn symphony and a magical realisation of Mahler's shortest symphonic work.

A Sunday afternoon program at Tanglewood introduced a young virtuoso and emphasized Mahler's Fourth Symphony's classicism.

Valery Gergiev's partnership with the Munich Phiharmonic is still a very young one and their common path can lead in many directions.

Glimpses of fire amid refined elegance at the Barbican.

The New York Philharmonic brought two works to the stage at David Geffen Hall last week; their extremely polished rendition of Lera Auerbach's violin concerto contrasted starkly with their under-rehearsed Mahler.

The Oslo Philharmonic played finely tuned Gabrieli and virtuosic Bach, finishing with a surprisingly sinister performance of Mahler's Fourth Symphony.

Donald Runnicles, Carolyn Sampson and the BBC SSO shine in a programme of early Mozart and Mahler's Fourth Symphony.

Young French pianist Lucas Debargue and the Russian soprano Sofia Fomina join the LPO and Vladimir Jurowski for a programme of Haydn, Mozart and Mahler.

The London Symphony Orchestra under their Principal Guest Conductor Daniel Harding perform Mahler's Fourth and a world première as well as accompanying Nikolaj Znaider in Sibelius' Violin Concerto.

Four Last Songs impresses with the radiant Christiane Libor, Mahler demands a little more tension and sense of propulsion than conductor Edo de Waart provided.

Buribayev and NSO deliver a powerful Mahler 4 while Ailish Tynan sings of the heavenly delights, while Alina Pogostkina dishes up outstanding Mendelssohn.

Sandwiched between Debussy’s charming Children’s Corner and Mahler’s invitation to heaven, Abrahamsen unveiled his piano concerto for left hand. It was certainly a night for stark contrasts in tone and theme.

A rare sighting of Muti and Mahler had stellar results in the bucolic Fourth Symphony, prefaced by two of Tchaikovsky's Shakespearean tone poems.

Spanish conductor Jesús López Cobos’ debut appearance with the BBC Philharmonic produced some wonderful results with a thoughtful and widely-varying programme of twentieth century music.

Bernard Haitink presides over a performance of Mahler’s Fourth Symphony with the London Symphony Orchestra which was “Just So” – everything in its place.

Making its fourth Proms appearance this season, the BBC National Orchestra transported the audience from the Orient in Nielsen’s Aladdin, to Ancient Greece for a world première, then to heaven in Mahler’s Symphony no. 4.

Elegant Iván Fischer and the Budapest Festival Orchestra team with seasoned soloists, Yefim Bronfman and Miah Persson, for peerless Bartók and Mahler.

Iván Fischer, and the Budapest Festival Orchestra brought a high level of intimacy with, and understanding of, the repertoire performed in the evening’s programme in São Paulo. 

Mariss Jansons’ reading of Strauss’ Der Bürger als Edelmann is devoid of parody, while his Mahler Fourth is a glimpse of heaven in shimmering watercolours.

Simon Trpčeski gives us precision and delicacy in a magical Ravel Piano Concerto in G major; fine singing from Karen Cargill can't prevent Ticciati's Mahler 4 from falling flat.

Hanna-Elisabeth Müller gives a stellar performance of "Das himmlische Leben" to crown Philharmonia Zürich's Mahler 4. 

Scottish Chamber Orchestra's opening concert of Hosikawa's Harp Concerto and Mahler's Fourth was a study of man and nature. It also offered a welcome chance to hear mezzo Karen Cargill singing to her home crowd.

For this diamond jubilee as a conductor, Bernard Haitink conducted the Netherlands Radio Philharmonic in a programme of Wagner, Berg and Mahler. 

Bernard Haitink and the London Symphony Orchestra explore musical perspectives on youthfulness and memory with a programme of Schubert's Fifth and the songs of innocence and experience woven into Mahler's Fourth.

Beyond what size does a chamber orchestra just become an orchestra? With 60 musicians involved in their Mahler 4 and Sibelius 6 program, the ACO was certainly stretching anyone’s definition of ‘chamber’.

Although both works have the goal of E major in common, the final destinations of Mendelssohn’s Violin Concerto and Mahler’s Symphony no. 4 couldn’t be more different. Tugan Sokhiev and the Philharmonia fell short of what could have been, but the third movement of the Mahler stood out.

For the first time in recent memory, the Dallas Symphony Orchestra presented a program this weekend without any blockbuster audience-favorite to be found on it.

After a summer at the Blossom Music Center, it was good to have The Cleveland Orchestra back in its Severance Hall habitat for the opening on the 2013/14 concert season on Thursday evening.

Perhaps it was the prospect of a brand new composition or the idea of an evening of two full symphonies that put people off, but the Auckland Town Hall was very sparsely attended indeed for the Auckland Philharmonia Orchestra’s ‘Voices of Youth’ concert, featuring works based on texts written from children’s perspectives.

Sir Mark Elder conducted the Hallé in fine performances of Haydn’s final symphony, no. 104, and Mahler’s most humble, no. 4.There is a neat symmetry in pairing Haydn with Mahler symphonies, respectively viewed as the grandfather and zenith of the genre. There was further interest in coupling Haydn’s very last symphony with Mahler’s most classical, conceived almost a hundred years later.

Andrés Orozco-Estrada has been feted as “a brilliant stand-in”, having replaced a number of more well-known conductors at short notice in Vienna, where he studied his craft. He is now the music director of the Tonkünstler Orchestra in Vienna having made an all-important career breakthrough.The Colombian was no stand-in for this concert, however.

If there were to be one orchestra that is essentially a “dream team”, the World Orchestra for Peace would surely be it.

Royal Academy of Music Chamber Ensemble Trevor Pinnock conductor Runette Botha sopranoHaydn (arr. Salomon) Symphony Quintetto (after Symphony No. 101 The Clock) for flute, string quartet and piano (ed. Christopher Hogwood)Mahler (arr. Stein) Symphony No. 4 in GThis was quite simply a delightful concert. The juxtaposition of these two pared-down symphonies was a brilliant idea superbly executed.

Alan Gilbert und das Königliche Philharmonische Orchester in einer schwelgerischen Wiedergabe von Mahlers populärer „Wunderhorn”-Symphonie.

Se inaugura la temporada de la Orquesta Sinfónica de Tenerife con un concierto dirigido por el titular Antonio Méndez y para el que contaron con la soprano Elsa Dreisig.

L'Orchestre de l'Opéra de Lyon et son directeur musical Daniele Rustioni sortent de la fosse pour un concert symphonique où l'interprétation des symphonies de Mahler et Mendelssohn ne convainc qu'à moitié.