Venue: St John's Smith Square, London

A fine concert, the first in a series celebrating the bicentenary of Clara Schumann's independent musical mind.

It is a well-known fact that Beethoven's Septet was one of his most popular works during his lifetime. What is lesser known is that Carl Czerny, his pupil, made a version for wind sextet.

Why don’t brass ensembles have a regular presence in the classical concert scene, in comparison to string ensembles or at least woodwind ensembles? 

Anna Devin's Cleopatra moved with complete conviction for scheming minx to mature woman in love.

A Lenten programme of 17th-century French and Italian sacred music partially fulfilled its dramatic potential in refined, understated performances. 

The Chinese American pianist gives a confident, purposeful performance, without his personality quite shining through.

Handel’s opera Orlando is famous for the great mad scene at the end of Act 2. Specifically written for the celebrated castrato Senesino, it’s an emotionally powerful ten-minute monologue.

Ukrainian pianist Anna Fedorova gave compelling performances of Chopin’s profound Ballades and intricate Waltzes, full of intensity, dreaminess and frenzy.