Hallé/Elder – review

Purists might be alarmed at this rescoring of a notoriously dense bit of Mahler, but it actually works rather well, writes Tim Ashley

The Apostles – review

Mark Elder's Elgar cycle turned to the rarely performed Apostles – a hefty undertaking the Hallé made thrillingly compelling, writes Andrew Clements

Hallé/Elder – review

Mark Elder's expansive conducting put some of the air back into Beethoven's Sixth, writes Alfred Hickling

L’Enfance du Christ – review

Sir Mark Elder gave his first performance of the piece, which has clearly already entered his bloodstream, writes George Hall

Hallé/Elder – review

Stravinsky's Violin Concerto pivots on a chord that the original dedicatee deemed impossible to play. But soloist Julian Rachlin made the finger-busting interval sound natural, writes Alfred Hickling

Hallé/Elder – review

Mark Elder conducted performances that bristled with tension – grace and weight collided in the Beethoven, and the Stravinsky spaciously done, writes Tim Ashley

Prom 9: Hallé/Elder – review

András Schiff's strikingly thoughtful account of Bartók's Third Piano Concerto really caught the attention – the opening movement quietly reflective and almost elegiac, writes Andrew Clements

Hallé/Elder – review

Even the man on the cow horn lowed magnificently for Britten's joyous Spring Symphony, writes Alfred Hickling

Hallé/Mark Elder – review

Manchester is not noted for its proximity to the coast, but there was a distinctly salty tang to Mark Elder's programme, writes Alfred Hickling

Hallé/Elder – review

It is often said that the Hallé have Elgar's music in their blood.. You'd be hard pressed to find the First better done, writes Tim Ashley

The Kingdom – review

Mark Elder's guest appearance with the London Symphony Orchestra brought what many call Elgar's finest choral masterpiece to glorious life, writes Andrew Clements

Northern Sinfonia/Elder – review

Guest-conducting for his new buddy Thomas Zehetmair's orchestra, Mark Elder put together a programme of works composed in or around the first world war, writes Andrew Clements

Hallé/Mark Elder/Andrew Gourlay – review

This was the UK premiere of Sally Beamish's second cello concerto, The Song Gatherer, written for Robert Cohen and inspired by the wanderings of the cellist's grandfather, writes Alfred Hickling

Hallé/Elder – review

Mark Elder took the 'look-no-hands' approach to conducting in the final part of this programme, writes Alfred Hickling

Elgar: The Kingdom

The Hallé take on a work that divides Elgar enthusiasts, and it never quite sparks into life, writes Andrew Clements

Proms 27 & 28: Hallé/Elder; BCMG/Volkov

Royal Albert Hall, LondonJohn Foulds's' eight-minute symphonic poem April – England is a far less ambitious work than his Dynamic Triptych, writes Andrew Clements

Prom 18: Australian YO/Elder

Mark Elder's connections with the Australian Youth Orchestra go back more than a quarter of a century, and when he first worked with the orchestra, its principal viola was Brett Dean, then about to leave his native country to become a member of the Berlin Philharmonic. Dean and Elder were reunited in this concert, for the AYO's programme opened with the first London performance of Dean's Amphitheatre, composed ten years ago

LSO/Elder

Barbican, LondonStanding in at short notice as soloist for the indisposed Janine Jansen, Daniel Hope gave a tenderly sympathetic account of the Britten concerto, writes Martin Kettle

Hallé/Elder

Bridgewater Hall, ManchesterMark Elder unleashed Mahler's revered Ninth with as much force as he could without the audience suing for assault, and ended it with a whisper, writes Alfred Hickling

Wagner: Götterdämmerung

Mark Elder and his Halle orchestra are at their electrifying best on a live recording of Götterdämmerung, says Fiona Maddocks

Wagner: Götterdämmerung

What worked so well in Mark Elder's concert at the Bridgewater Hall does not always transfer convincingly to disc, says Andrew Clements

Hallé/BBCPO/Elder

Bridgewater Hall, ManchesterThe Mahler in Manchester series tackled the cultish vastness of the Eighth with operatic urgency, writes Tim Ashley

Hallé/Elder

Bridgewater Hall, ManchesterCapitalising from the relatively concise span of Mahler's Fifth, the Hallé under Mark Elder were on fire, writes Alfred Hickling

Elgar: Violin Concerto; etc

The latest addition to Mark Elder and the Hallé's Elgar series is an exceptional recording of the violin concerto, writes Andrew Clements

Hallé/Elder

St David's Hall, CardiffThe Hallé were on suave form, with pianist Lars Vogt putting in a sparkling rendition of Beethoven's Third Piano Concerto, says Rian Evans

Prom 19 – Hallé/Elder

Royal Albert Hall, London If anyone can make a case for the pairing of Berlioz's La Mort de Cléopâtre and Mendelssohn's second symphony, it is Mark Elder, writes Martin Kettle

LPO/Elder

Royal Festival Hall, LondonA superbly balanced reading of Rachmaninov's Third Symphony, says George Hall

LPO/Elder

Royal Festival Hall, LondonRewarding though every aspect of this concert was, Mutter's violin concerto was electrifying, says Martin Kettle

LPO/Elder

Wigmore Hall, LondonFor all the warmth the Wigmore Hall lends voices and solo instruments, the acoustic has its pitfalls, says Andrew Clements