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Sir Simon Rattle's “Stravinsky Journey” threads a string of miniatures to persuade the audience that there's more to Stravinsky than his three early Ballets Russes hits. 

The fast-rising Italian pianist Beatrice Rana offered a triumph of technique, but her playing lacked much emotional engagement or wit.

Salonen and the Los Angeles Philharmonic, arguably the conductor and orchestra par excellence of Stravinsky performance, debuts the first of their three-concert series dedicated to the former Angeleno. 

Manchester's BBC Philharmonic packs a punch in an evening of orchestral greats.

Beautiful textures and radiant clarity as the CBSO comes to the Edinburgh Festival.

Rimsky-Korsakov literally wrote the book on orchestration. In this splendid LPO concert tracing Stravinsky’s music, Vladimir Jurowski focused on the composer’s debt to his friend and mentor.

When news of the discovery of Stravinsky's Funeral Song reached the classical music world, a near-revolution of excitement took place.

Chailly is beefing up the orchestra's sound and honing its style through an intensive collaboration that has borne tours, recording projects and frequent appearances in Milan.

Alina Ibragimova plays with skill but insufficient sound to fill the Royal Albert Hall; Vladimir Jurowski and the LPO blow the roof off with Shostakovich's account of the Revolution of 1905.

Esa-Pekka Salonen conducts the US première of Tansy Davies' Forest, a work intended to evoke a Romantic sensation of mystery and nature.

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.

Mit einem spannenden Programm gibt Karina Canellakis ein glanzvolles Debüt in der Alten Oper Frankfurt mit dem hr-Sinfonieorchester.

Riccardo Chailly et la Filarmonica della Scala étaient de passage à la Philharmonie de Paris, pour un concert entièrement consacré à la musique russe. Analyse d'une interprétation inégale.

La nueva temporada de la OSG ha arrancado con un atractivo y exigente programa en el cual se confrontaron dos obras de temáticas y épocas afines, pero de dimensiones y lenguajes antagónicos. Junto al Canto fúnebre Stravinsky, Slobodeniouk ofreció una madurada y matizada interpretación de la "Resurrección" mahleriana.

Eminent choix de programmation que d’adjoindre à l’attendu Stabat Mater de Rossini l’amène Symphonie n°3 de Schubert et, surtout, l’inédit Chant Funèbre de Stravinsky, retrouvé en 2014 à Saint Pétersbourg et ici en création.