
Let’s not split hairs over a wobbly fugue, this was jaw-dropping stuff from Sam Hudson, the Philharmonia and the Three Choirs Festival Chorus

The Swedish Chamber Orchestra with Martin Fröst was immense fun. Invigorating. Different. Rewarding. It would have made brilliant TV (and presumably would have been cheaper than the LA Phil). It seems unfathomable it wasn’t recorded for broadcast.

Vilde Frang’s Korngold shone with unbroken lyricism and cinematic colour; Vaughan Williams’ vast Sea Symphony impresses in scale and execution, even if its emotional heart remains elusive.

Where Beethoven’s Fifth brought moments of elegance and balance, some fortissimos felt too big and lacked clarity. Shostakovich’s Tenth was the evening’s triumph — precision, drama, and vividly drawn storytelling, including searing brass and velvety-padded strings.

A Scottish Chamber Orchestra Prom of Rameau, Saint-Saëns and Beethoven revealed an emerging broadcast-led strategy in this year’s season: programming designed to be safe rather than startling. But Maxim Emelyanychev’s gritty, defiant Beethoven 5 proved a reminder of why this work is not just enjoyed, but needed.

A first encounter with Beethoven’s Piano Trio Op.1 No.1 at London’s newest recital hall, the Bechstein Hall in London’s Wigmore Street.

A joyous celebration packed full of detail.

It’s my second time to Printworks. I’m here to see Aurora Orchestra’s Beethoven 5 theatrical ‘set piece’. I don’t necessarily feel like the target audience for this but I want to experience different formats – a useful way of seeing how the product is being packaged up for different audiences. Everything about that format is…

Human connection in a performance by a musician embarking on her career.

Zhu is a phenomenal talent. She is reassuringly self-assured. The complete package.