The Eighth offers perhaps the most fully-realised expression of Bruckner's vision, and when one is fortunate enough to experience a performance as great as the one given by Andris Nelsons and the Berlin Philharmonic, it is impossible to emerge from the concert hall unmoved

Das Gehege, described as a ‘night scene’ for soprano and orchestra, was written initially for the stage, and while its most obvious precursor is Schönberg’s Erwartung, its intoxicating mixture of sensuality and violence has arguably more in common with the final scene of Strauss’ Salome

In both Schönberg’s Central Europe and Ives’ New England one could hear the piano straining to liberate itself from the formal constraints of classical tradition

The Ginastera's Violin Concerto, which enjoyed a high-profile première under Leonard Bernstein in 1963, Roman Simovic and the committed support of the orchestra suggested a work that is ready for wider rediscovery

El prólogo y los actos no terminan donde Verdi puso la última nota, sino donde Bieito pone el oscuro.Y es que no se trata de una representación operística (‘Qué vulgaridad’) sino de una obra de arte total, ‘teatralomusicalovideística’, en la que el vídeo está omnipresente.

No se le puede negar al texto añadido las buenas intenciones, porque todos estamos en contra de la guerra, especialmente cuando hoy se escuchan tantos peligrosísmos rumores de sables.Pero no así, no con textos blandos metidos con calzador y amplificación sonora.

However if Rusalka had its moments of frustration – both musically and theatrically – these were generally outweighed by the conviction of the central performances and the wealth of memorable imagery.