Dominic Lowe recently completed a degree in Classics, and one of his great interests is the reception of Greece and Rome in opera. A regular opera-goer since his very early teens, he is particularly keen on the hidden operatic gems of the 19th century. He is largely based in the South of England.
Janine Jansen's interpretation of Sibelius' Violin Concerto is a triumph, followed by a powerful reading of Prokofiev's Sixth by Noseda – a thrilling concert to leave the heart racing.
Despite the big Spanish beasts like Rodrigo and de Falla, it is a small work by contemporary Mexican composer Gabriela Ortiz that packs the biggest punch in this programme.
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.
Massenet, Smyth and Rota are unlikely bedfellows, but in the Guildhall School's Autumn production, a one-act opera by each contributed to a most convincing triple bill, all set around the La Scala Picturehouse in the 1920s.
Vaughan Williams' Ninth Symphony is not yet an audience favourite, but Andrew Manze and the London Philharmonic Orchestra make an admirable case for the work as a masterpiece.
Christof Loy's production of Tosca at ENO replaces Catherine Malfitano’s and, despite being visually attractive, suffers certain muddled ideas. It boasts, however, a strong trio of singers who deliver a committed performance on the production's first night at the Coliseum.
It's taken two years for Jack Furness' new production of Dvořák's greatest opera to reach the Garsington stage, but it is entirely worth the wait, with a breathtaking performance from Natalya Romaniw in the title role.
A visit to London from Nelsons is always an occasion. The first of two programmes dedicated to Strauss demonstrated why the Gewandhausorchester Leipzig is among the best in the world.
Michieletto's slightly cold take on one of Donizetti's greatest comedies is amply compensated by some spectacular singing, with Pretty Yende's Norina a particular delight.
Vasily Petrenko continues to show a marked facility for Vaughan Williams with a terrific performance of A London Symphony, preceded by a most interesting Emperor Concerto with Boris Giltburg.
A new production of Humperdinck's charming fairy-tale opera is always to be welcomed, particularly when performed with such enthusiasm by the students of the Royal College of Music.
English Touring Opera has revived James Conway's production of La bohème to launch the company back to full operations post-lockdown. What this new run lacks in finesse is made up for in bags of heart and spirit.
ENO has a long and fine history in Janáček’s corpus, and Jamie Manton's new production, performed by a cast that revels in the clash between nature and mankind, has much in which to delight.
Julia Fischer's final concert in her series with LPO exploring Mozart's violin concertos tackled Nos 1 & 2, thoughtfully balanced with Tchaikovsky's gleaming Serenade for Strings.
With warhorses like Rachmaninov's Second Piano Concertoand Beethoven's “Pastoral” Symphony, the onus is on the conductor to deliver and Edusei does not quite hit all the right notes in this spirited, but flawed concert.