Live, Video: Find classical music concert, opera, ballet and dance reviews | Cello Concerto in B minor, Op.104

Stepping in at short notice, Sousa led the Philharmonia in Brahms' Fourth Symphony, before which Steven Isserlis dazzled in a deeply enjoyable reading of Dvořák’s Cello Concerto.

Antonín Dvořák’s Cello Concerto takes Sydney audiences to Czech forests before Eduardo Strausser conducts excerpts from Prokofiev's Romeo and Juliet. 

Yo-Yo Ma's beatific serenity speaks volumes about his approach to life and music as he gives a performance in Stockholm's Konserthuset ahead of receiving the Birgit Nilsson Prize later in the week.

Myung-whun Chung and Pablo Ferrández shine separately, but never quite get on the same page.

Music by (and inspired by) Sibelius sounds great in this Scottish performance, but Dvořák’s Cello Concerto fails to cohere.

Anja Bihlmaier presents the scintillating Suite by Galina Ustvolskaya, an unsettling Shostakovich 9, which finds comedy and tragedy side by side, and then Dvořák’s heart-warming Cello Concerto with Leonard Elschenbroich.

Dvořák's Cello Concerto takes star billing after Rory Macdonald conducts the RLPO in Wagner's Siegfried Idyll.

Everything about Dvořák's Cello Concerto with the Royal Stockholm Philharmonic Orchestra was special.

The Czech Philharmonic, in tremendous form, still play their core repertoire with unaffected naturalness.

Truls Mørk was cultured and intense in Dvořák’s Cello Concerto while Sir John Eliot Gardiner took the LSO through its paces in Suk’s emotional beast of a symphony.

For the composer's birthday, a mismatch of performers and repertoire.

In Estonia's summer capital of Pärnu, holiday spirits and family pride abound in the EFO's first concert of Paavo Järvi's festival. 

The young French cellist says he can't sing. But that didn't stop him producing a great cantabile performance for Dvořák's great crowd-pleaser.

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.

Roth's exploration of the roots of musical modernism takes the LSO from Debussy to Strauss via Dvořák's Cello Concerto.

The Lucerne Festival audience recently celebrated a superb solo performance by cellist Kian Soltani, the 2018 winner of the annual Credit Suisse Young Artist Award, who played with the Vienna Philharmonic.

Evocative Smyth and impressively detailed Strauss from Tausk, and warm Dvořák with soulful playing from Daniel Müller-Schott.

Tomáš Netopil directs ideal, ‘non-dairy’ performances of Mozart and Dvořák.

In performing the three late masterpieces by Dvořák, Järvi found different ways to triumph. 

On its current concert tour in Switzerland, the Czech Philharmonic Orchestra treated audiences to a programme of works by two of its homeland's most illustrious composers.

Dutoit’s CSO program was highlighted by the US première of an intriguing discovery –Stravinsky’s long-lost Chant funèbre – complemented by Prokofiev and Dvořák with Truls Mørk.

While passion, supreme technical mastery, and inspiration all come to mind watching a celebrity like Ma perform, camaraderie, perhaps, is the best word for this concert.

A fantiastic walk through Bohemia guided by the PKF Prague Philharmonia conducted by Emmanuel Villaume, with an excellent performance from Gautier Capuçon.

The Hong Kong Philharmonic's concert this weekend featured two long works by composers who were contemporaries and who struck up a friendship late in their career.

The RSNO’s latest concert was entitled “Dvořák Cello Concerto”, but it was Thomas Søndergård's brilliant direction of Shostakovich's Fifth Symphony which proved the highlight. 

An impressive performance from cellist Natalie Clein in Dvořák’s Cello Concerto did much to alleviate the woes of the real world.

The Israel Camerata Jerusalem Orchestra makes its Sydney debut in Dvořák, Koptyman and some rather old-fashioned Haydn. 

Charles Dutoit and the Royal Philharmonic Orchestra are the stars in a demanding programme of Dvořák and Bartók.

The Hallé’s end-of-season Dvořák festival continued with the Seventh Symphony, Cello Concerto and Slavonic Dance no. 2 from the Op.72 set. 

A globetrotting programme from Dutoit and the RPO that whisked us from Rome's fountains to St Petersburg's Shrovetide Fair via Bohemia's woods and fields. 

Barcelona's L'Auditori was taken on a journey of contrasts, via Parra and Prokofiev, that unsettled as much as it delighted. 

Even before Müller-Schott struck his first note in Antonín Dvořák’s great Cello Concerto in B minor, the Zurich audience was stunned by an unusual visual: the instrument itself.

Two individually strong musical components met in this Czech field trip, but will they connect to form something new?

Two mainstays of the repertory, in sensitive performances by artists from Armenia and Costa Rica, to round-off the LPO concert season.

Opportunity planted the young Krzysztof Urbański on the Avery Fisher Hall podium in Dohnányi’s place, and occasion was right for his New York Philharmonic debut as he was joined by cellist Alisa Weilerstein for a satisfying night of Dvořák.

A superb account of Dvořák's Cello Concerto from Alisa Weilerstein outshone Beethoven's Symphony No. 7 under Jiri Bĕlohlávek's baton at the Proms

While people gathered near big screens at the Museum Square to see the Dutch football team play, metres along the road another crowd gathered to hear the Gelders Orchestra play Dvořák's Cello Concerto and Ninth Symphony.

Steven Isserlis' passionate and improvisatory reading of Dvořák’s Cello Concerto served as the saving grace for the otherwise lacklustre programme.

The last of the Philharmonia’s “Bohemian Legends” series paired an extremely familiar work – Dvořák’s Cello Concerto – with an extremely unfamiliar one: Josef Suk’s Asrael Symphony. In spite of some uneven orchestral playing, the concert showed off the best points of both works.

James Levine and the Met Orchestra travel a few blocks south to Carnegie Hall, to perform a program of works by Antonin Dvořák.

An excellent Dvořák Cello Concerto with István Várdai and some stirring Mendelssohn from the Istanbul State Symphony Orchestra

The Australian Chamber Orchestra is undoubtedly one of the nation’s strongest classical music “brands”, although trying to pin down the forces that make up this protean ensemble is difficult.

There’s something heartwarming in stories of friends’ differences resolved. Hanuš Wihan had requested a cello concerto of Dvořák, who declined on the grounds that, although a fine orchestral instrument, the cello was not suited to the solo spotlight. The change of heart, occasioned by Victor Herbert’s Second Cello Concerto, is to all our benefits.

Markus Stenz conducted a lean and crisp performance of Beethoven’s Eroica Symphony which remained unsentimental and lively throughout, prefaced by a nostalgically sunny Dvořák Cello Concerto with soloist Miklós Perényi.Stenz’s plan for the Beethoven was perhaps clear from the seating plan, from just six desks of first violins to two desks of double basses.

This was the second of a triptych of concerts in Baden-Baden centred around the Russian cellist Mischa Maisky, who played here with the Bamberger Symphoniker and Jonathan Nott in an all-Dvořák programme.Dvořák's Cello Concerto in B minor is his final large-scale orchestral canvas, and justly celebrated as one of his finest achievements.

Tonight's Prom gave the chief conductor of the BBC Symphony Orchestra, Jiří Bělohlávek, the chance to showcase two masterpieces from his homeland, with the first half comprising the ever-popular Cello Concerto No. 2 by Dvořák and the second half, Smetana's epic cycle of symphonic poems, Má Vlast. The latter work, surprisingly, received its first complete Proms' performance this evening.

Bread, filling, bread. Overture, concerto, symphony. Despite flirtations with open sandwiches, club sandwiches and two-symphony programmes, it seems that in both cases most people stick to tradition. But not the Philharmonia and András Schiff: last night’s programme began with Mendelssohn’s brooding Hebrides Overture, followed by Brahms’ Fourth Symphony.

The theme of the first half of last night’s concert seemed to be love, in two of its many guises. Firstly of the sickly sweet variety: the love between hero and heroine in Berlioz’ Benvenuto Cellini, the opera from which he took material for the Roman Carnival overture.

La Royal Philharmonic Orchestra, en su segunda velada en Madrid, y con Vasiliy Petrenko al frente, dio lo mejor de sí en la interpretación de la grandiosa Sinfonía Manfredo de Chaikovski.