Live, Video: Find classical music concert, opera, ballet and dance reviews | Symphony no. 12 in D minor "The Year 1917," Op.112

Sir James MacMillan's Second Violin Concerto receives a convincing reading from Nicola Benedetti, bookended by fine performances of celebratory Shostakovich from Gianandrea Noseda and the LSO.

Nelsons and the Boston Symphony  present an American premiere, Shostakovich’s Twelth, and dazzling Ravel with Dame Mitsuko Uchida

José Luis Gomez saves the day for the RSNO at Usher Hall. 

Thomas Søndergård conducts the BBC National Orchestra of Wales in Mosolov, Shostakovich and Beethoven with Igor Levit

Vassily Sinaisky returns to Birmingham, partnered by a Macedonian pianist.

There could hardly be a noisier way to commemorate the centenary of the Russian Revolution than a performance of Dmitri Shostakovich's mighty Twelfth Symphony.

A curious combination of Mozart’s “Great” Mass and Shostakovich’s Twelfth Symphony fill Worcester Cathedral with exuberance.

On the basis of its recent appearances, Chailly's varied musical diet is doing the Filarmonica a lot of good

Soviet Realism rubs shoulders with Romanticism and a new British work in Liverpool.

Who would have thought a program of water sprites and revolutions spanning 200 years could be so seamless? 

The final orchestral performance of this year’s Gergiev festival saw the city of Rotterdam play host to St. Peterburg’s Mariinsky Orchestra.

Once again, Gergiev drew the best from his musicians: fantastic woodwind solos, impressive brass calls, extreme nuances within the strings - and an extreme dynamic range.

Los músicos de la formación rusa dotaron a cada momento de continuidad, brindando, por lo demás, una exégesis rica en matices y detalles dinámicos, construidos a través de la articulación empastada y el gesto claro de Gergiev.

L'Orchestre national du Capitole de Toulouse et son directeur musical ont brillé dans l'exigeante Symphonie n° 12 de Chostakovitch. Vadim Repin a déçu dans le Concerto pour violon de Glazounov.

Mettre ensemble, faire avancer la musique, modeler les phrases, les nuances, donner les départs sans jamais s'interposer ni entre le public et les musiciens ni entre eux et la musique : voilà la leçon de direction donnée par Neeme Jarvi.

La música es tal vez la única forma de expresión que, en potencia, podría escapar a la censura. Sin embargo, la experiencia vital y profesional de Dmitri Shostakovich parecen demostrar todo lo contrario, hasta el punto que tocar, dirigir o escuchar una obra del compositor ruso conlleva una emoción muy peculiar.