En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Queen Elisabeth Hall

Mit zeitlich-örtlicher Zufälligkeit leitet Luks das Paradewerk ganz so, als wollten die Ebenbilder des Herrn die Schöpferkraft herausfordern wie geradezu gleichsam zu Haydns geschriebenem und vermitteltem Energieboost verblüffungsreif demonstrieren.

Franck conducts Franck! In Antwerp Mikko Franck and the Orchestre Philharmonique de Radio France play the Symphony in D minor and are joined by Sol Gabetta for Lalo. 

What better way is there to celebrate Czech music than with an all-Dvořák programme brought by the Czech Philharmonic under their chief conductor Semyon Bychkov?

In a brilliant performance of the "Leningrad" Symphony, Jaap van Zweden proved that great music knows no cultural borders.

Víkingur Ólafsson's appearance may have been most anticipated, but it is Rachmaninov's Symphonic Dances that impresses most as the Bergen Philharmonic Orchestra and Edward Gardner make a welcome return to Antwerp.

Janine Jansen’s exquisite reading of Prokofiev's First Violin Concerto leaves the Belgian audience on a high.

Mezzo-soprano Stephanie d'Oustrac also met the dramatic and musical challenges of Berlioz's Les Nuits d’été.

Despite distancing, the members of Collegium Vocale Gent filled the Queen Elisabeth Hall with an impressively cohesive sound, transparent and powerful at the same time. 

The Dutch conductor returns to his old orchestra for a concert stream of Beethoven, with Nicholas Angelich, and Tchaikovsky. 

"Beethoven 250" starts in grand form with thrilling performances of Egmont and Symphonies 5 and 8 in Antwerp.

Think of a poet irresistibly teasing your senses by his creative use of rhythm, his unpredictable style of speech and his unfailing imagination.

Špaček subtly illuminated the tough and serious first movement with shafts of light, convincingly sweetened his tone for the lyricism of the intermezzo-like Andante moderato, and gave a dazzling display in the exhilarating finale.

A memorable evening: LSO horns on tremendous form with Sir John Eliot Gardiner on the podium and Isabelle Faust in stellar performance.

The Rococo Variations show Pyotr Ilyich at his most beguiling and Gerhardt’s cello made the Andante sostenuto variation sing from every bar.

Attentive to the dynamics and tempi, Frang meshed her violin with the orchestra, naturally coming into the footlights or receding into an accompanying role when required. In effect, the performance had a feel of an improvisation.

The Antwerp Symphony Orchestra make Dvořák’s Ninth Symphony sound like new, while Alice Sara Ott’s joy in playing Mozart is palpable.  

A night to remember in Antwerp as Salonen and the Philharmonia demonstrated once again that, in the right hands, familiar repertory can still prove compelling and even surprising.

Overshadowed by its Hanseatic cousin Hamburg, Antwerp recently celebrated the opening of its own new concert hall. In his Symphony no. 2, Wim Henderickx tested the hall's capabilities with a multi-media extravaganza.