LPO/Alsop/Hough – review

Hough combined excitement and drama with a keyboard finesse and precision that were sometimes breathtakingly vivid, writes Andrew Clements

LPO/Nézet-Séguin – review

Nézet-Séguin proved once more that he is an outstanding Bruckner conductor, even if 'completing' the composer's Ninth with the Te Deum did not convince, writes Martin Kettle

LPO/Jurowski – review

Vladimir Jurowski's account of Prokofiev's sixth symphony was compelling, a vindication of the work's ever-growing reputation, writes Martin Kettle

LPO/Vedernikov – review

Vedernikov's rather deliberate way with Prokofiev led to an emphasis on points of style at the expense of the music's energy, writes Tim Ashley

LPO/Eschenbach/Fleming – review

Ten years after a still-remembered performance of Strauss's Four Last Songs, Fleming and Escenbach reprise it – with greater richness than ever, writes Tim Ashley

LPO/Jurowski – review

The opening brass fanfare promised resonant things, but the increasingly hectic piece lost its way after that, writes Martin Kettle

LPO/Jurowski/Vogt – review

Boos and bravos mingled after a work by Matthias Pintscher, which suited the LPO wonderfully well but divided the audience, writes Tim Ashley

LPO/Vänskä – review

Soloist Janine Jansen made up her Albert Hall performance earlier this year with a display of stunning intensity, writes Erica Jeal

LPO/Stenz – review

Violist Lawrence Power reminded us what a fine composer Mark-Anthony Turnage can be, writes Tim Ashley

LPO/Vladimir Jurowski – review

This tribute to Prometheus included Matthias Pintscher's new violin concerto, but it suffered in comparison to pieces by Beethoven, Liszt and Scriabin, finds George Hall

LPO/Jurowski – review

The real controversy tonight was Vladimir Jurowski's championship of post-Soviet Russian music – and the first half, at least, was wonderful, writes Tim Ashley

LPO/Jurowski – review

The LPO offered a lifeline to concert-goers suffering Mahler fatigue by ending its uncommonly probing Mahler series with songs, writes Erica Jeal

LPO/Vladimir Jurowski – review

This intelligent and revealing contribution to the Mahler anniversary celebrations didn't contain a single note by Mahler, writes Andrew Clements

Mahler: Symphony No 8 – review

There may be more refined versions of Mahler's gargantuan work put on disc, but I wouldn't wait for them, says Andrew Clements

LPO/Yannick Nézet-Séguin – review

This concert was a startling affair, notable for the shamelessness and wildness Yannick Nézet-Séguin brought to Berlioz's Symphonie Fantastique and La Mort de Cléopâtre, writes Tim Ashley

LPO/Masur – review

Kurt Masur's genial authority shone throughout, even when a hint of slackness crept into the performance, writes George Hall

LPO/Jurowski – review

A sensual version of Zemlinsky's Lyric Symphony was another one of the London Philharmonic's recent run of rarely performed masterpieces, writes Tim Ashley

LPO/Nézet-Séguin – review

Yannick Nézet-Séguin's performance with the London Philharmonic reminded us of the pivotal, if unclassifiable, nature and striking originality of César Franck's remarkable Symphony in D Minor, writes Tim Ashley

LPO/Nézet-Séguin – review

this performance of the Fifth Symphony by the London Philharmonic seemed rather ordinary – though it had some extraordinary moments, writes George Hall

Strauss: Intermezzo – review

Elisabeth Söderström is devastating in the lead role, but otherwise Strauss's bittersweet portrait of marital strain is a bit of a mixed bag here, writes Tim Ashley

LPO/Jurowski – review

The LPO made a plausible case for Mahler's discarded Blumine movement for his First Symphony, writes George Hall