Venue: St John's Smith Square, London

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.

The City of London Sinfonia presents an absorbing account of Tavener's musical ecumenicism. 

James Ehnes, Steven Osborne and Alban Gerhardt captured the lamentations of Shostakovich's Second Piano Trio before they were joined by clarinettist Jean Johnson for Messiaen's quartet at St John’s Smith Square.