First, the Berlin Philharmonic, and now the New York Philharmonic, Arthur Kaptainis (our man about town) gets no peace from blockbuster orchestras.

Paul E Robinson looks at the legacy of Leonard Bernstein with new review of a DVD and CD of music by Sibelius and others, including Bernstein's former protégé Marin Alsop.

Munich Opera revisits a production with convoluted themes at this year's Bayerische Festspiele. Joseph So recounts the effect direct from Munich.

German cellist Maria Kliegel and pianist Nina Tichman recorded these three companion works — all were published as Op. 16 in 1821 — with a combination of strength and grace that seems to be what is necessary to give this essentially poised, Classically-shaped, aristocratic music interest.

Thanks to the Canadian Opera Company and the Toronto Symphony Orchestra, we’re seeing and hearing a lot more of Oakville-based tenor Michael Schade this season.

The two trios, dating from the turn of the century when Ermanno Wolf-Ferrari was in his twenties, will give you an instant summer smile.

That’s what happened on Thursday night when conductor Ivars Taurins led Tafelmusik Orchestra and Chamber Choir, as well as four great soloists, in the first of four performances of that masterpiece at Koerner Hall.

Deutsche grammophon releases debut solo album from Seong-Jin Cho, winner of the 17th International Chopin Piano Competition.

While some observers have looked warily on this 50-year-old collaboration of two white guys, the perspective is favourable to the cause of human rights and critical of the establishment.

After basking in the glories of their latest album, Times go by Turns, it’s clear that New York Polyphony has cemented a place as the a cappella classical vocal quartet of the moment.