BBCSO/Runnicles – review
Detlev Glanert's Brahms-Fantasie companion piece to a Brahms symphony was expertly atmospheric but outshone by the real thing, writes Kate Molleson
LPO/Wigglesworth/Elder; BBCSO/Davis – review
Two premieres – Julian Anderson's striking The Discovery of Heaven and Hugh Wood's more traditional Second Violin Concerto – impressed London, writes Andrew Clements
BBCSO/Gourlay – review
Replacing the indisposed Thomas Dausgaard, the young conductor Andrew Gourlay showed tremendous potential, writes Tim Ashley
BBCSO/Knussen – review
The six-minute Concerto for Orchestra was full of sharp-edged, vivid sonorities and crisp musical ideas, writes Andrew Clements
Lutoslawski: Orchestral Works 2 – review
His teacher didn't rate him, but the BBCSO and Edward Gardner do Lutoslawski full justice here, writes Fiona Maddocks
BBCSO/Jukka-Pekka Saraste – review
Eight years after it was written, György Kurtág's … concertante … received its UK premiere and delivered some breathtaking moments, writes Andrew Clements
BBCSO/Gardner – review
Under Edward Gardner's leadership, the orchestra here reaffirmed its credentials as a world-class ensemble, writes George Hall
BBCSO/Jiří Bělohlávek – review
This all-Czech programme saw the premiere of C by Jiří Kadeřábek, which needed more sophistication in its handling to justify its inclusion, writes George Hall
Alison Teale: Cor! – review
The BBC Symphony Orchestra's principal cor anglais player delights Fiona Maddocks with a brilliant solo disc
BBCSO/Oramo – review
Sibelius's Third made a wonderfully definitive climax to this largely Finnish programme, writes Andrew Clements
Lutosławski: Vocal Works – review
Edward Gardner and the BBC Symphony Orchestra revisit Witold Lutosławski with this collection of glowing, sensuous vocal works, writes Fiona Maddocks
Prom 70: BBCSO/Robertson – review
The UK premiere of Harrison Birtwistle's wonderfully rich violin concerto was the second remarkable performance by Christian Tetzlaff at this year's Proms, writes Andrew Clements
Prom 61: BBCSO/Robertson/Ma – review
Graham Fitkin's bespoke concerto for Yo-Yo Ma began magically but never really delivered, writes Erica Jeal
Prom 56: BBCSO/Bychkov – review
Semyon Bychkov barely glanced at the sheet music in a memorable performance of Mahler's Sixth, writes George Hall
Prom 51: BBCSO/Dausgaard – review
Kevin Volans's new piano concerto is a strikingly attractive and engaging piece and was played by Barry Douglas with brilliance and precision, writes Andrew Clements
Prom 41: BBCSO/Wigglesworth – review
Mark Wigglesworth proved once again what a very special conductor he is in this re-creation of an all-Britten concert, writes Martin Kettle
Prom 32: BBCSO/Gardner – review
Soloist Christian Tetzlaff let the music live, breathe and sing with a directness that few can equal today, writes Tim Ashley
Prom 24: Little/BBCSO/BBC Singers/Davis – review
A quintessential Proms programme executed with relish by Andrew Davis but let down by a weak Elgar violin concerto, writes Guy Damman
Prom 19: BBCSO/Knussen – review
Knussen's typically eclectic all-20th century programme was played with breathtaking clarity and precision, writes Andrew Clements
Martinů: The Six Symphonies – review
Jiří Bělohlávek's incisive interpretations of his fellow Czech come recommended, writes Stephen Pritchard
Martinů: The Six Symphonies – review
With quality conducting by Belohlávek, anyone looking for a set of Martinu's symphonies shouldn't hesitate, writes Andrew Clements
Prom 8: BBCSO/Bělohlávek – review
The key musical statement of Czech nationalism, Ma Vlast, finally made its Proms debut with a fresh, risky appraisal, writes Tim Ashley
First Night of the Proms: BBCSO/Belohlavek – review
At the Royal Albert Hall the BBC Symphony Orchestra's chief conductor, Jiri Belohlavek, was in every sense on home territory with Czech music, writes George Hall
Canat de Chizy: Times; Yell; Omen; Alio; La Ligne d’Ombre – review
Canat de Chizy's orchestral writing shows an inescapably French quality and is full of vivacity and quick-witted colourfulness, writes Andrew Clements
Britten: Phaedra; A Charm of Lullabies; Lachrymae; Two Portraits; Sinfonietta – review
Sarah Connolly is a fine Phaedra, but there are treats elsewhere here, as Britten's works are accorded drama and intensity says Tim Ashley
BBCSO/Volkov – review
Ilan Volkov showed himself again to be a conductor of great sensitivity, intelligently and unfussily guiding the BBCSO through three strikingly different works, writes Guy Dammann
Total Immersion: Unsuk Chin – review
This BBCSO day devoted to Chin demonstrated the extraordinary range of her sensationally accomplished writing, says George Hall
Delius: Appalachia/The Song of the High Hills – review
Bohemian rhapsody is the name of the game in this lustrous Delius recording by the BBC Chorus and Orchestra, writes Fiona Maddocks
BBCSO/Bychkov – review
Not everything clicked immediately in the BBCSO's playing of Rachmaninov's The Bells, yet this hardly mattered when the choral singing sounded so explosively vibrant, writes Erica Jeals
BBCSO/Yamada – review
Kazuki Yamada revealed his prowess as a collegiate rather than a despotic conductor; his rapport with the orchestra was plain to see, writes Martin Kettle
BBCSO/Sinaisky – review
Vassily Sinaisky's performance of Schnittke's extraordinary Faust Cantata was a superbly marshalled exercise in horror, writes Tim Ashley
BBCSO/Robertson – review
A 1995 Detlev Glanert piece got a belated but unconvincing British premiere here, writes Andrew Clements
BBCSO/Belohavek – review
Under Jirí Belohlávek, the BBCSO played vividly, creating a shimmering, shifting halo behind the solo line. But all ears were on the brilliant Alexei Ogrintchouk, principal oboist of the Concertgebouw, writes Erica Jeal
BBCSO/Knussen – review
The real meat in the programme came in the second half, with the premiere of the revised version of Julian Anderson's choral work Heaven Is Shy of Earth, writes George Hall
Roméo et Juliette; BBC Symphony Orchestra at 80; Oxford Lieder festival
It's a slow-burner, but Gounod's Roméo et Juliette delivers beautifully in the end, says Fiona Maddocks