Sydney Symphony: More ups than downs

Australia’s biggest orchestral beast announces a positive result for 2012, if not as good as last year.

To Russia with love (from Sydney)

The Sydney Symphony announce a 2013 three city Russian tour.

Death of an Orchestra: Orchestra Romantique's swan song

Thoughts on the premature demise of an ensemble whose grand dreams were dashed against the rocks of financial reality.

Queen of Spades: Sydney Symphony's operatic gamble

Vladimir Ashkenazy and Stuart Skelton on Tchaikovsky's supernatural riddle.

The Real Rach 4

Why did Rachmaninov spend decades revising his Piano Concerto No 4 when there was nothing wrong with the original?

Murray Perahia: Poet of the Piano

Ahead of his Australian debut, the pianist opens up about injury, depression and why jazz musos "shame" their classical colleagues.

Anne-Sophie Mutter receives her first honorary doctorate

The violinist accepts degree from Norwegian University of Science and Technology.

Backstage with SIPCA winner Avan Yu

The winner of the 2012 Sydney International Piano Competition recounts his journey, round by gruelling round.

Australians knocked out before SIPCA finals

None of the five Australian candidates have progressed to the last stage of the Sydney International Piano Competition.

Are Australian orchestras ignoring homegrown conductors?

Delving into the "maestro myth": why are our best conductors overlooked?

Strings attached: Vivid's indie classical revolution

The festival teams the world’s hottest bands with orchestras and innovative composers.

"We're not at band camp anymore": rising stars

The SSO Fellowship is a baptism of fire for young musicians that includes a trip to jail.

West Side Story: Sydney Symphony plays it cool

Bernstein's masterpiece screens at the Sydney Opera House with live orchestral backing.

MAHLER: Symphony No 4 (soprano: Emma Matthews; Sydney Symphony/Ashkenazy)

Lacking inspiration: the playing is a joy, the reading less so.

BEETHOVEN: Piano Sonatas Nos 8, 17, 23 (Ingrid Fliter)

Balanced Beethoven: Fliter’s easy flowing pianism takes every technical hurdle in its stride.

R STRAUSS: Ein Heldenleben; Four Last Songs (Dorothea Roschmann s; Rotterdam PO/Nezet-Seguin)

Not enough swagger from this athletic young conductor in the blazing grandeur of Heldenleben.

Live review: The Music of John Williams - SSO

Excerpts from Star Wars, Harry Potter, Superman etc.
Shaun Micallef; SSO/Guy Noble
Sydney Opera House Concert Hall, August 12

Live review: Sydney Symphony's Pictures at an Exhibition

Liszt Tasso, Lament and Triumph
Schumann Piano Concerto in A minor
Mussorgsky/Ravel Pictures at an Exhibition Ingrid Fliter, piano/Pinchas Steinberg
Sydney Opera House, July 1

On the road with Emmanuel Pahud

The principal flautist of the Berlin Philharmonic returns to Australia with Mozart, Bach and an exciting premiere.

Live review: The Very Best of Gilbert & Sullivan

Stuart Maunder, Soloists, SSO/Guy Noble
Concert Hall, Sydney Opera House
Saturday June 18, 2011

G&S: the Lennon/McCartney of the 19th century

On the centenary of WS Gilbert’s death, Tom Ford sheds light on the life without Sullivan.

FREDDY KEMPF: Rachmaninov, Busoni, Ravel, Stravinsky

An astounding talent Freddy Kempf embraces fearsome works.

On the road with Steven Osborne

The Scottish pianist on improvisation, Mozart, and a broken finger.

Ashkenazy extends Sydney Symphony contract

A new portrait of the maestro has been unveiled to celebrate his continuing work with the SSO.

ELGAR Enigma Variations in the South (Sydney Symphony/Ashkenazy)

The Enigma Variations are fine: Troyte blusters, Dorabella lisps beautifully and Nimrod radiates nobility.

RACHMANINOV Symphony No. 2; Caprice Bohémien (Sydney Symphony/Ashkenazy)

Ashkenazy recorded the Rachmaninov Symphonies many years ago with the Royal Concertgebouw Orchestra and the first movement of the Second was played and conducted at a much higher voltage than here.

MAHLER Symphony No 8 (Sydney Symphony / Ashkenazy)

I’ve always thought Mahler’s Eighth Symphony something of a trial: the idea of yoking the medieval hymn Veni, Creator Spiritus with the final scene of Goethe’s Faust, seems bizarre alongside its theme of redemption.
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