The gamble of Dealing with Death pays off for Holst’s Sāvitri but is less certain for Ullmann’s Emperor of Atlantis. Opera students at RCS capture the mix of satire, surrealism and anarchy perfectly
Dunedin Consort’s band of virtuosi players, four Early music specialist soloists and just four ripieno singers gave a nimble and exquisitely focussed performance of the Christmas Oratorio simply bursting with enjoyment.
Scottish Opera and the Royal Conservatoire of Scotland with an international cast pack a huge punch in a concert performance of Prokofiev’s The Fiery Angel.
What is it about Arvo Pärt’s ‘Angel Music’ that appeals to the dying? Vanishing Point’s theatre and Scottish Ensemble’s playing combine to produce a thoughtful and poignant performance.
Vasks’ Viola Concerto receives its Scottish première with Maxim Rysanov and the Scottish Chamber Orchestra as they explore music and nature in the Baltic, Rome and America.
Side by side, the combined forces of the RSNO and the Mariinsky under Gergiev recall the Western première of Shostakovich Fourth symphony at the 1962 Edinburgh Festival.
Verdi’s Macbeth, performed at the first Edinburgh International Festival returns for its 70th anniversary in Emma Dante’s sumptuous new production from the Teatro Regino Torino under Gianandrea Noseda.
At the Edinburgh Frings, a niche festival of late night classical music thoughtfully programmed at Old St Paul’s Church nestling off Edinburgh’s Royal Mile is food for the soul.
Stuart Skelton’s visceral Peter Grimes is matched by a strong cast with thrilling playing and singing from the Bergen Philharmonic Orchestra under Edward Gardner.
An evening full of verve and surprise, Iván Fischer conducts Nicola Benedetti and Budapest Festival Orchestra in a Legendary Partnership at the Edinburgh International Festival.
Fanfares and percussion: the NYOS play an all American programme of Gershwin, Copland and welcome back NYOS alumnus Colin Currie to play Andrew Norman’s Switch.
The complex world of Górecki, Bacewicz and Cytż is contrasted with Dvořák and Chopin as The Scottish Ensemble embarked upon an Eastern European journey with guest director Bartosz Woroch.
Eisenstein is a Tory Minister out of his depth on a European mission. Mischief and fun galore in RCS’s well sung Die Fledermaus, a fitting tribute to Timothy Dean as he stands down as Head of Opera.
Karen Cargill returns to Scottish Opera as Judith in Bluebeard’s Castle in a double bill with The 8th Door, a new opera from Lliam Paterson and Vanishing Point’s Matthew Lenton.
