Jakob Lenz; Berlin Staatskapelle/Barenboim; Salieri Quartet; BBC Proms 2012 launch –
Andrew Shore makes quite a splash in ENO's riveting Jakob Lenz, writes Stephen Pritchard
Prom 73: Der Freischütz – review
The Frenchified version of Weber's history-making opera didn't quite fill out the Royal Albert Hall, says Andrew Clements
Last Night of the Proms – review
The raucous evening has an increasingly tenuous connection to the rest of the festival, writes Erica Jeal
Greek/ Music Theatre Wales; Proms 67, 68, 70 – review
Turnage's first opera comes to visceral life again in Edinburgh while the curtain falls on one of the best Proms ever, writes Fiona Maddocks
Prom 72: Philadelphia Orchestra/Dutoit – review
The Philadelphia Orchestra's exceptional beauty was sometimes brought down to earth by their conductor's too-solid approach, writes Tim Ashley
Prom 71: Tribute to Stan Kenton – review
John Fordham: Jazz hasn't featured much on the Proms this year, but Stan Kenton's big-band music was unleashed with enough roaring noise to stand in for half a dozen gigs
Prom 70: BBCSO/Robertson – review
The UK premiere of Harrison Birtwistle's wonderfully rich violin concerto was the second remarkable performance by Christian Tetzlaff at this year's Proms, writes Andrew Clements
Prom 69: Mutter/Pittsburgh SO/Honeck – review
Anne-Sophie Mutter's precise performance was a highlight in this ambitious, characterful and engaging Prom, writes Guy Dammann
Prom 68: Pittsburgh SO/Honeck – review
The small sample of Braunfels was attractive but far too short – an odd failure of nerve for the season, writes Andrew Clements
Prom 67: Missa Solemnis
Colin Davis's performance of Beethoven's challenging Missa Solemnis with the London Symphony Orchestra, the London Symphony Chorus and London Philharmonic Choir was awesome in its impact, writes Tim Ashley
Prom 66: Thierry Escaich
Organ recitals tend to divide people: although I am sometimes sceptical, I was carried away by much of Thierry Escaich's performance, writes Tim Ashley
Prom 65: BBC NOW/Jac Van Steen – review
This was the first London showing for Michael Berkeley's Organ Concerto and David Goode played the instrument at full tilt, writes George Hall
Proms 63 & 64: Budapest Festival Orchestra/Iván Fischer – review
The Budapest Festival Orchestra's two sensational Proms reminded us of their limitless ability to take us by surprise, writes Tim Ashley
Die Frau ohne Schatten; BBC Proms 61 & 62 – review
Domestic turns gothic to dizzying effect in a rare outing for Die Frau ohne Schatten, writes Fiona Maddocks
Prom 62: Israel Philharmonic Orchestra/Mehta/Shaham – review
The belligerent reception for the Israel Philharmonic Orchestra might actually have enhanced the music, writes Erica Jeal
Prom 62: Israel Philharmonic Orchestra/Mehta/Shaham – review
The belligerent reception for the Israel Philharmonic Orchestra might actually have enhanced the music, writes Erica Jeal
Prom 61: BBCSO/Robertson/Ma – review
Graham Fitkin's bespoke concerto for Yo-Yo Ma began magically but never really delivered, writes Erica Jeal
Prom 60: Netherlands RPO/Van Zweden – review
The NRPO's debut at the Proms was powered with an extraordinary dramatic energy and guided on an utterly sure path from first note to last, writes Andrew Clements
Prom 58: Mendelssohn’s Elijah – review
A mammoth spectacle, but the level of inspiration occasionally slumped from the sublime to the complacent, writes George Hall
Prom 57: Tonhalle Orchestra Zürich/Zinman – review
Anders Hillborg's Cold Heat, making its Proms debut, played interesting games with speed and pace, writes Tim Ashley
Prom 56: BBCSO/Bychkov – review
Semyon Bychkov barely glanced at the sheet music in a memorable performance of Mahler's Sixth, writes George Hall
Prom 55: Rinaldo – review
The semi-staging of the Handel opera, ported over from Glyndebourne, is tacky; thank heavens for the music, says Erica Jeal
Prom 54: Marc-André Hamelin – review
Tim Ashley: A lifelong Liszt devotee, Hamelin is a fine interpreter of his work, combining virtuosity with passion and intellectual refinement
Prom 53: GMJO/Davis – review
The Gustav Mahley Jugendorchester's svelte sound and fine sense of rhythmic precision were to the fore in this suberb concert, writes Tim Ashley
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
Prom 51: BBCSO/Dausgaard – review
Kevin Volans's new piano concerto is a strikingly attractive and engaging piece and was played by Barry Douglas with brilliance and precision, writes Andrew Clements
BBC Singers/London Sinfonietta/Atherton – review
Contemporary music including a welcome revival of Peter Maxwell Davies's Il Rozzo Martello made this a notable addition to the Proms Saturday matinee series, writes Andrew Clements
Prom 50: CLS/Layton – review
Colin Matthews's No Man's Land, premiered here, is a strikingly atmospheric score, writes George Hall
Proms 47 and 49: COE/Haitink – review
, writes Andrew Clements
Prom 48: BBCSSO/Manze – review
The early part of the programme, built around the pianist Angela Hewitt but still themed on Brahms, proved the most rewarding, writes Andrew Clements
Prom 46: Mullova/Barley – review
These players are all class acts, but this Prom felt too obedient and tame, writes Guy Dammann
Prom 44: Batiashvili/Philharmonia/Salonen – review
Violinist Lisa Batiashvili's expressive style was spellbinding, writes Guy Dammann
Prom 43: RPO/Litton – review
This programme was decently played but proved a shapeless affair, with Yuja Wang's account of the Bartók a highlight, writes Andrew Clements
Prom 42: Orchestra of the Mariinsky Theatre/Gergiev
It was remarkable not just how well Swan Lake stood up to concert hall scrutiny but also how marvellously the orchestra played it under artistic director Valery Gergiev, writes George Hall
Prom 41: BBCSO/Wigglesworth – review
Mark Wigglesworth proved once again what a very special conductor he is in this re-creation of an all-Britten concert, writes Martin Kettle