Philharmonia/Lorin Maazel – review

Mark Padmore and Matthias Goerne were the standouts at this excellent 50th anniversary performance of Britten's War Requiem, writes Martin Kettle

Philharmonia/Salonen – review

With some exquisite playing, Mitsuko Uchida brought clarity to Schoenberg, and Esa-Pekka Salonen showed cool restraint in Brahms, writes Martin Kettle

Philharmonia/Kurt Masur – review

Kurt Masur kept the orchestra on a tight rein throughout this programme – even during Bruckner's Seventh Symphony, writes Martin Kettle

Philharmonia/Davis – review

Julian Lloyd Webber made a truly persuasive case for Delius's cello concerto, writes Martin Kettle – but why mark his anniversary with only two of his works?

Philharmonia/Salonen – review

At a concert to mark 50 years of Amnesty International, the Beethoven was nothing special, but Dallapiccola's Il Prigionero was unforgettable, writes Tim Ashley

Philharmonia/Ashkenazy/Bavouzet – review

This was one of the great performances of Ravel's Concerto in G, taking it into territory way beyond the realm of art deco cool, with which it is primarily associated

Philharmonia/Maazel – review

A great performance leaves you wanting the rest of the Mahler's unfinished symphony in one of its posthumous completions. In this instance, one was grateful Maazel proceeded no further, writes Tim Ashley

Philharmonia/Maazel – review

This concert was equally about Lorin Maazel – and it didn't do this part of the Philharmonia's Mahler cycle any favours, writes Rian Evans

Philharmonia/Maazel – review

Lorin Maazel's approach to Mahler is quixotic – he describes the symphonies as "like spaceships, forever orbiting and sending out signals", which may sound spaced-out, but his Mahler is a cosmic experience, writes Alfred Hickling

Philharmonia/Salonen – review

Esa-Pekka Salonen didn't exactly wear his passion on his sleeve in this evening of Bartók and Stravinsky, writes Erica Jeal

Philharmonia/Esa-Pekka Salonen – review

Esa-Pekka Salonen began this series celebrating Bartók with a rarely heard and curious early work, which the Philharmonia tackled superbly, writes Andrew Clements

Philharmonia/Salonen – review

For chief conductor Esa-Pekka Salonen, it's not so much a series as a mission to lead the concert-going public into the sometimes darkly forbidding world of Bela Bartók, writes Rian Evans

Philharmonia/Lazarev – review

A more intense selection of The Nutcracker eschewed the Kingdom of Sweets confectionery for the scary second half and climactic pas de deux, writes Tim Ashley

Philharmonia/Sokhiev – review

Ivo Pogorelić went off on one during a bizarre account of Tchaikovsky's first piano concerto, leaving everyone else in the room to keep up, says Martin Kettle

Smetana: Ma Vlast – review

Using a smaller orchestra than is usual, Hruša exploits the transparency of the lighter body of strings to highlight much telling detail, says Andrew Clements

Music of Today; Philharmonia/Salonen

Royal Festival Hall, LondonThe opening concert of Julian Anderson's final season as Music of Day's artistic director was full of his scholarly insight, writes Tim Ashley

Philharmonia/Salonen; BBCSSO/Volkov

Royal Albert Hall, LondonThe British debut of Arvo Pärt's Fourth Symphony was insubstantial, but the BBCSSO's programme of experimental works shone, writes Andrew Clements

Philharmonia/Lucas

Gloucester CathedralThe cathedral's over-resonant nave whipped home boy Ivor Gurney and Gerald Finzi's work into an unsatisfying aural smoothie, writes Andrew Clements

Philharmonia/Temirkanov

Royal Festival Hall, LondonThis concert was notable both for sharpness of insight and emotional variability, writes Tim Ashley