En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Symphonie no. 5 en ré majeur

A deeply satisfying performance of Vaughan Williams' Fifth Symphony crowns an excellent evening of English repertoire at the Barbican. 

Howard Griffiths conducts English music in Belgrade. Ian Bostridge and Nikola Ćirić star and Britten's Serenade and Vaughan Williams' Fifth Symphony wow the Serbian audience.

The amateurs of the SCO Academy play Vaughan Williams' Concerto Grosso alongside the orchestra's professionals, and there is glorious warmth in the Fifth Symphony. Just don't ask me to love The Lark Ascending.

One does not often get a profound sense of approaching Bunyan's Celestial City while at the Barbican, but Sir Antonio Pappano and the LSO open heaven's gates wide open. 

Elgar, Szymanowski and Vaughan Williams may not be obvious concert companions, but with remarkable music-making these three sit beautifully together to make a special evening.

Edward Gardner and the LPO offer controlled expression in Britten and reassuring tranquility in Vaughan Williams.

The BBC Philharmonic and Mark Wigglesworth present moving accounts of two symphonies, plus eloquent singing from Alessandro Fisher in the orchestral version of On Wenlock Edge.

Vasily Petrenko conducts a performance of Vaughan Williams' Fifth Symphony that hit the right note from first to last. 

The LSO is reunited with its Music Director for the first time since lockdown for a moving performance from the Royal Albert Hall. 

Urioste’s marvellous playing wedded gleaming tone to sure technique in The Lark Ascending.

Vaughan Williams' Fifth Symphony is given a great performance by the Royal Philharmonic Orchestra at Cadogan Hall. 

John Harbison's Second Symphony takes the listener from Dawn to Darkness, while Vaughan Williams' Fifth offers “the similitude of a dream” in Boston. 

The Scottish Chamber Orchestra also have a winner in a radiant Vaughan Williams Symphony no. 5.

This week’s subscription concerts of the Sydney Symphony Orchestra featured only British music that was composed in the last century; three very different works in terms of compositional approach and musical language.

Las cuerdas fueron el gran protagonista del concierto que la Orquesta Sinfónica de Navarra ofreció el pasado viernes el en Baluarte. Bajo la batuta del británico Rumon Gamba y acompañadas por el guitarrista australiano Craig Ogden, la OSN fue al centro de una ejecución acariciante al estilo New Age.

Conductor Michael Francis and pianist Benjamin Grosvenor have an auspicious debut with the Atlanta Symphony Orchestra.

A well-crafted programme at Symphony Hall showcasing the best of English music from the first half of the last century.

As part of the Festival Hall’s Sunday matinee series, John Wilson programmed three inspirational works by Bax, Walton and Vaughan Williams. 

Dancing Nights was a great title for this evening’s concert by Northern Sinfonia – a perfectly balanced selection of light-hearted music, with every piece on the main programme written with the intention of making people happy in one way or another.

Ralph Vaughan Williams wrote nine symphonies. Tonight, the middle three were lined up in an engrossing triptych, written by a mature composer who, in his sixties and seventies, showed no lack of energy. Andrew Manze, Associate Guest conductor of the BBC Scottish Symphony Orchestra, took a relaxed approach to all three allowing the emotion written into the score to emerge unrepressed.

In advance of a nationwide spate of celebration concerts, here was an all-British programme that didn’t so much as mention the Jubilee or the Olympics. And a great job the CBSO made of it, under guest conductor Andrew Manze. His expressive hands not only encouraged beautiful music, but they were a joy to watch too.

In an unusual piece of programming by today’s standards, this evening’s symphony, Vaughan Williams’ fifth, was played before the interval, with the lighter works, Dvořák’s Wind Serenade and Elgar’s Cockaigne, later in the evening.

At what age is it time for a conductor to gracefully hand on his baton and stop polishing his concert shoes? André Previn last night appeared on stage at the Barbican in a pair of very shiny shoes indeed, but they didn’t help him onto the rostrum any quicker.