En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Malin Christensson

The Seattle Symphony, under the outstanding leadership of guest conductor Giancarlo Guerrero, overcame the absence of their maestro and gave a worthy reading of the monumental work.

With Andris Nelsons' withdrawal from Bayreuth last year, the BSO’s summer home, Tanglewood, became the venue for his Wagner with a concert performance of Das Rheingold

Amazing for his young age, Andris Nelsons grasped the essence of Mahler's spiritual quest in coming to terms with life's challenges

Netia Jones is a visionary stage practitioner, but this show is a rare misjudgement.

In a rare performance of Bach’s Mass in B minor, Andris Nelsons and the BSO brought forward the music’s gravitas.

Stravinsky, Delius's evokation of the experience of Norwegain mountains, Rachmaninov and Tchaikosky in a stunning concert by the Hallé, the Hallé Choir and Sir Mark Elder 

How to compare Nielsen and Ives? Possible similarities aside, however, the impact of their work is, on the whole, wildly contrasting.

Thursday's performance of Haydn's The Creation got out to something of a rough start, but proved a lovely concert by the end.

There’s nothing like a bit of Mozart to help you unwind… and this was far more than a bit of Mozart, as part of the CBSO’s “Relax and Revitalise” series. 

The Chorus of Royal Northern Sinfonia do battle with Beethoven's monumental and challenging choral masterpiece.

Die Fledermaus is as quintessentially Viennese as zithers and Schnitzel. In John Wilson, the Philharmonia and a fine ensemble cast, we should have had all the ingredients for a memorable matinée performance, but a few elements meant the fizz went rather flat.

J S Bach's opus ultimum, the Mass in B Minor, was also the opus ultimum of the year-long Bach Unwrapped series at Kings Place. Unfortunately, it proved not to be the crowning glory it might have been.

Peter Grimes may deserve the place it has gained in the operatic canon, but it’s not a work without problems.

Even Emperor Josef II would have thought this was a bad idea. The real-life monarch depicted in Peter Shaffer’s fictional play Amadeus quite memorably forbade ballet in his court operas. But the absurdity of the dancers carrying on with no music playing in Mozart’s Act III convinced the Emperor that he was in the wrong.

The International Wimbledon Music Festival is only in its fourth year, and yet it has world-class musicians coming to perform in SW19. The standard of music making on this opening night was second to none, and the quality matched that of some of London’s biggest venues.

There was a sense of celebration in the air at the Sage Gateshead, as the Northern Sinfonia orchestra and chorus began their tenth season under the direction of Thomas Zehetmair with an all-Mozart programme. The hall was full, and before welcoming Zehetmair to the stage, Sage General Director Anthony Sargent had a bit of fun showing off Hall One’s fancy new multi-coloured lighting effects.

A piece of music written by a dying composer, left unfinished and completed by a dedicated friend from the chaotic fragments left behind. This is not just the story of Mozart’s Requiem, so familiar to many from Peter Schaeffer’s colourful retelling in Amadeus, but also of Bartók’s Viola concerto, which was imaginatively paired with the more well-known Requiem by Northern Sinfonia this evening.

In spite of Mahler's disapproval, his eighth symphony is forever tagged as the "Symphony of a Thousand" because of the immense choirs which perform it.