LSO/Gergiev – review

Gergiev's understanding of the Stravinsky score's ratchet-like intensity was sympathetic and acute, writes Tim Ashley

LSO/Gergiev – review

Valery Gergiev kicked off his Stravinsky festival with an anticlimactic Mass, but the rest of the concert suggested great things await, writes Guy Dammann

Britten: War Requiem – review

Noseda's understanding of ritual devotion and political anger here is acute and the choral singing is fervent, writes Tim Ashley

Der Freischütz – review

Davis wonderfully sustains the oppressive atmosphere, so that when the powers of darkness are defeated, we feel we are in a better world, writes Tim Ashley

LSO/Bychkov – review

The drum strokes were apocalyptic, the fortissimos threateningly fierce, so that by its end you were not exhilarated, just battered into submission, writes Andrew Clements

LSO/Tilson-Thomas/Von Otter

There were moments of unsteadiness, but Von Otter's exceptional way with words has left her communicative powers reasonably intact, writes Tim Ashley

LSO/Tilson Thomas – review

It was a delightful, immensely accomplished evening, the relaxed tone set by Tilson Thomas's perfectly judged introductions, writes Andrew Clements

LSO/Tilson Thomas – review

A rare outing for Debussy's early Fantasy was overshadowed by imaginative transcriptions of some of his piano preludes, writes George Hall

LSO/Adès – review

Adès proved a confident exponent of his own work, including a rendition of the striking In Seven Days, writes George Hall

LSO/Pappano – review

Not everything about the performance seemed entirely settled, but most of the reading was vividly spot on, writes Andrew Clements

Uchida/LSO/Davis – review

Colin Davis, now in his 80s, has conducted these Haydn and Mozart symphonies all his life, and the result had a glowing coherence and warmth, writes Martin Kettle

LSO/Davis – review

Mitsuko Uchida held the audience's attention effortlessly playing Beethoven's fourth piano concerto, writes George Hall

LSO/Gergiev/Mutter – review

In Tempus Praesens is a superb vehicle for Anne-Sophie Mutter, while Valery Gergiev and the LSO do fine work with its complex sonorities, writes Tim Ashley

LSO/Zhang – review

Xian Zhang made a tingling account of Alexander Zemlinsky's ravishing symphonic poem, writes Andrew Clements

LSO/Järvi – review

It's just as well it was Steve Reich's 75th birthday, says George Hall, because the music on offer didn't quite merit the applause

LSO/Davis/Uchida – review

It was invigorating to hear how much dynamism could be imparted to Carl Nielsen's youthful First Symphony by a conductor a week past his 84th birthday, writes Erica Jeal

LSO/Gergiev/Freire – review

It is rare to see Gergiev as a calming influence, but here his role seemed to be as much to help the musicians find a way down from the climaxes, writes Erica Jeal

LSO/Gergiev – review

This all-Tchaikovsky LSO concert featuring the winners of the legendary Moscow Tchaikovsky Competition was a fascinating mixed bag, writes Martin Kettle

Prom 52: LSO/Gergiev/Kavakos – review

The LSO shook the hall to its foundations with barnstorming playing: bright, incisive and making its impact through precision more than mere loudness, writes Erica Jeal

Pires / LSO / Haitink – review

With little chance for rehearsal, the orchestra was muddy and neither they nor Pires could seem to build much momentum. Only the finale shone as it should, writes Guy Dammann

Uchida/LSO/Davis – review

By concentrating on fine-tuning Nielsen's oddly turned phrasing, this performance revealed the Sixth Symphony to be significantly more than the sum of its parts, says Guy Damman

LSO/Gergiev – review

Gergiev was alert to complex shifts of mood in Tchaikovsky's Third Symphony, writes Tim Ashley

LSO/Zhang – review

An exemplary, terrifying and close-on definitive performance of two Prokofiev works, says Tim Ashley

LSO/Gergiev/Kavakos – review

Why does Valery Gergiev persist with Shchedrin when he could be conducting Shostakovich all the time, asks Tim Ashley

LSO/Davis – review

Davis captures wonderfully the Straussian sense of beauty and lingering fondness for nature, writes Tim Ashley

LSO/Rattle – review

In 2002, Simon Rattle flubbed Bruckner's Ninth – a misstep for which he atoned in spectacular fashion here, writes Martin Kettle

LSO/Gergiev – review

The LSO's principal conductor hit on an authentically Mahlerian paradox in his rendition of the Ninth, says Guy Dammann

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

LSO/Daniel Harding – review

Also Sprach Zarathustra suits Harding's slightly detached way with Strauss – and the LSO played it gloriously, writes Tim Ashley

LSO/Gergiev – review

Gergiev and the LSO were impeccable accompanists to the intense Sergey Khachatryan in Shostakovich's Second Violin Concerto, then turned on the Slavic charm for Tchaikovsky, writes Martin Kettle

LSO/Previn – review

The quality achieved in André Previn's programme with the LSO spoke of a relationship between the ensemble and its conductor laureate that remains, however infrequent his visits latterly, genuinely special, writes George Hall

LSO/Roth – review

François-Xavier Roth gets Liszt, says Tim Ashley, but needs to work on his Berlioz

LSO/Pappano – review

Tim Ashley: Antonio Pappano's latest concert with the London Symphony Orchestra will probably be remembered as an evening of two violinists

LSO/Alsop – review

What gives Mahler's retouchings of Beethoven a special relevance is the light they cast on Mahler's own music, writes Andrew Clements