CBSO/Sakari Oramo – review

In this performance of Mahler's unfinished 10th Symphony the CBSO played magnificently for their former chief, writes Andrew Clements

CBSO/Nelsons – review

For all its dramatic sweep, there still seems something provisional about Andris Nelsons's Mahler with the CBSO, as if he, as much as his audience, can still be surprised by what these works contain, writes Andrew Clements

CBSO/Rattle

Simon Rattle's first concert with his old orchestra in four years produced an exceptional St Matthew Passion, writes Andrew Clements

CBSO/Nelsons

Symphony Hall, BirminghamAndris Nelsons's instinct for sculpting the phrases with exactly the right ­emotional weight, while still driving the music forward, is what holds your attention, writes Rian Evans

CBSO/Gardner

Symphony Hall, BirminghamEdward Gardner's all-English programme started with a chilly and distant version of Vaughan Williams's Fantasia on a Theme by Thomas Tallis, writes Andrew Clements

CBSO/Nelsons

Symphony Hall, BirminghamIt would be hard to imagine Kari Kriikku giving a more gripping performance of Magnus Lindberg's Clarinet Concerto than this one with Andris Nelsons and the City of Birmingham Symphony Orchestra, writes Rian Evans

CBSO/Volkov

Symphony Hall, BirminghamThis UK premiere of Unsuk Chin's Rocaná, directed by Ilan Volkov, used a massive orchestra with nine percussionists, writes Rian Evans

Mariinsky/CBSO/Gergiev

Symphony Hall, Birmingham: Valery Gergiev almost managed to make a convincing case for a Prokofiev Soviet puff-piece, says Andrew Clements

CBSO/Knussen

Symphony Hall, BirminghamColin Matthews's new violin concerto is a strikingly original work, writes Andrew Clements

CBSO/Nelsons

Symphony Hall, BirminghamThe centrepiece of Andris Nelsons' Seascapes concert was a virtuoso trumpet performance by Hakan Hardenberger, writes Andrew Clements

CBSO/Nelsons

Symphony Hall, BirminghamAndris Nelsons was on vibrant form during a complementary pairing of Wagner's overture to Die Meistersinger with Beethoven's Fifth, writes Rian Evans

CBSO/Nelsons; Monteverdi Choir/Gardiner

Royal Albert Hall, LondonNelsons relished every detail of the instrumental palette and the CBSO's immense dynamic range found full expression in an evening of orchestral lushness, writes Andrew Clements

CBSO/Nelsons

Symphony Hall, Birmingham This was an unusual programme, focusing on oboe, bassoon and contrabassoon, and featured the premiere of John Woolrich's piece Falling Down, writes Rian Evans

CBSO/Nelsons

Classical: Symphony Hall, BirminghamConductor Andris Nelsons did full justice to the genius of Haydn's credit-crunch Mass, says Rian Evans

CBSO/Nelsons

Symphony Hall, BirminghamToo often Nelsons's navigation through this huge score seemed like a journey without maps, says Andrew Clements

CBSO/Oramo

Symphony Hall, BirminghamOramo's performances caught the lamentations' austere, hieratic tone perfectly, says Andrew Clements

CBSO/Nelsons

Symphony Hall, BirminghamOne is both captivated by the moment and carried by the momentum of Nelsons, says Rian Evans

CBSO/Nelsons

Symphony Hall, BirminghamA terrific programme, superbly put together and vividly performed, says Andrew Clements

CBSO/Kamu

Symphony Hall, Birmingham: This celebration of Carl Nielsen was, by turns, humorous, intense and insouciant, says Rian Evans

CBSO/Slobodeniouk

Symphony Hall, Birmingham: The concert began with some rare, late Nielsen that the orchestra judged perfectly says Andrew Clements

CBSO/Oramo

Symphony Hall, BirminghamEvery moment was vibrantly alive, and yet time seemed somehow held in abeyance, says Rian Evans

CBSO/Volkov

Symphony Hall, Birmingham Tightly calculated clarity contrasted perfectly with poetic expanses, writes Rian Evans

CBSO/Nelsons

Symphony Hall, Birmingham A dark, probing quality, allied with sensuous playing from the orchestra made this performance memorable

CBSO/Litton

Symphony Hall, Birmingham: It appears that Prokofiev based his happy ending of Shakespeare's work on symphonic criteria rather than narrative truth

Martin Creed/CBSO/Nelsons

Symphony Hall, BirminghamIt is difficult to tell whether the joke is on the audience, the orchestra or both, writes Alfred Hickling

CBSO/Nelsons

Symphony Hall, Birmingham The opening of Wagner's Rienzi Overture here was exquisitely moulded, and the tension allowed to build with total naturalness

CBSO/Adès

Royal Albert Hall, LondonThomas Adès Tevot fits neatly into a programme of Russian classics