RCO/Jansons – review

An all-Strauss programme by the Concertgebouw Orchestra provided lashings of beauty, if a little lack of tension, writes Tim Ashley

Strauss: Friedenstag – review

Joseph Keilberth was one of the great Strauss conductor but this is no masterpiece and the cast try your patience, writes Tim Ashley

LSO/Eötvös – review

Eötvös shows himself to be a highly impressive interpreter of varied repertoire in a programme of Bartók and Szymanowski, writes Tim Ashley

Der Rosenkavalier – review

What makes this revival so special is David McVicar's stagecraft and a cast that is dramatically and vocally excellent, writes George Hall

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

BBCSSO/Donald Runnicles – review

The highlight of this concert was a truncated Der Rosenkavalier that showcased some sublime singing from three female soloists, writes Kate Molleson

Gurlitt: Nana – review

This is the first commercial recording of Gurlitt's Nana, though you might think it was recorded 50 years ago, writes Andrew Clements

Bavarian RSO/Jansons/Uchida – review

Mariss Jansons turned his exceptional ability to breathe new life into cobwebby repertoire in the direction of Strauss's Ein Heldenleben, writes Martin Kettle

Intermezzo – review

Strauss's already sketchy opera needs the orchestra to be on form. It wasn't, says Kate Molleson

LSO/Davis – review

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

LSO/Daniel Harding – review

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

Strauss: Orchestral Songs – review

Aside from some questionable sequencing, this collection of Strauss is a fine one, and is tackled by Diana Damrau with great aplomb, writes Tim Ashley

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

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

BBCNOW/Ono – review

This concert highlighted works by Strauss, Takemitsu, Wagner and Zemlinsky and their instinct for exploiting instrumental tone, writes Rian Evans

Ariadne auf Naxos – review

Welsh National Opera define the characterisation of this confusing opera with wonderful perception, writes Rian Evans