Warm brass and wind timbres were punctuated by mildly spiky harmonies during this concert, says Barry Millington

Rattle offers an epic taste of LSO glories to come, says Barry Millington

Bryn Terfel, Simon Rattle, Daniel Barenboim and even Sherlock Holmes are among the stars of this year’s BBC Proms. Be ready to book when the box office opens, says Barry Millington

There’s something for everyone in this year’s season, including star turns by Barenboim and Rattle, a late-night tribute to David Bowie, Restoration music by candlelight and a cool concert in a Peckham car park. Barry Millington picks out the highlights

The role of Tannhäuser is an infernally taxing one, says Barry Millington, but despite some frayed edges Peter Seiffert produced a gratifyingly ringing tone, though he was eclipsed by Christian Gerhaher as Wolfram and Emma Bell as Elisabeth

It is certainly shocking but not gratuitously so, says Barry Millington

Despite some beautiful moments, there was something too deliberate about the phrasing of the wistful Ländler second movement, says Barry Millington

The maestro is still powering on, says Barry Millington

Gerald Barry’s take on Oscar Wilde’s play is a work of bizarre brilliance, says Barry Millington

The Los Angeles Philharmonic presented an innovative programme of music from the Americas, says Barry Millington

 Rivetingly powerful torment of a tsar, says Barry Millington, as Boris Godunov comes to the Royal Opera House

Iestyn Davies, in the title role, rattled off the rapid triplets of his suicidal frenzy, says Barry Millington, and was deeply affecting in his mad scene

Ermonela Jaho returns for a revivial of the second opera of Puccini’s trilogy Il Trittico, and is as glorious as ever, says Barry Millington

The climax here is a powerful one, but oh dear, it takes so long to get there, says Barry Millington

Gardiner sweeps away prejudices of Mendelssohn being effeminate by making the music urgent and vital and muscular, says Barry Millington

Simon McBurney’s Magic Flute wittily orchestrates visual and sound effects from the sides of the stage while Lucy Crowe, ideally cast as Pamina, duly wins all hearts, says Barry Millington

American mezzo Kate Lindsey proved to truly be the star of this L’Etoile, says Barry Millington

Mark van de Wiel proved an eloquent advocate of this unjustly neglected work, while the Philharmonia under Wilson were sympathetic orchestral partners, says Barry Millington

Texture was the common thread throughout the evening, says Barry Millington

Though the magic on the night was intermittent, there was no doubt that it was a very special occasion, says Barry Millington