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
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
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