Thrilling moments, terrific theatre, intimacy & transcendence: Sir Antonio Pappano conducts Berlioz's Requiem at BBC Proms with London Symphony Orchestra

Berlioz: Requiem - Sir Antonio Pappano, London Symphony Orchestra, London Symphony Chorus, BBC Symphony Chorus - BBC Proms (Photo: BBC/Chris Christodoulou)

Berlioz: Grande messe des morts (Requiem); Julien Henric, London Symphony Orchestra, London Symphony Chorus, BBC Symphony Chorus, conductor: Sir Antonio Pappano; BBC Proms at the Royal Albert Hall
Reviewed 15 August 2026

Thrilling moments and great visual theatre in a performance that combined grandeur with control and clarity, creating some remarkably intimate, austere moments and real transcendence at the end

Berlioz's Grande messe des morts (Requiem) might seem to have been made for the Royal Albert Hall. Certainly there are few venues in London to contain it, though I remember a memorable performance with Sir Colin Davis conducting the London Symphony Orchestra at St Paul's Cathedral in 2012 [see my review].

On Saturday 15 August, it was Sir Antonio Pappano conducting the London Symphony Orchestra in the work at the Royal Albert Hall for the BBC Proms with the London Symphony Chorus (chorus-master Mariana Rosas) and BBC Symphony Chorus (chorus-master Neil Ferris) with tenor Julien Henric in his Proms debut. (Was it his UK debut too? Possibly).

Whereas Sir Colin Davis put the four brass bands in the dome and allowed the acoustic of St Paul's Cathedral to do its thrilling worst, at the Royal Albert Hall Sir Antonio Pappano was more interested in clarity. And a remarkable amount of clarity can be achieved in the venue if carefully handled.

Berlioz: Requiem - Sir Antonio Pappano, London Symphony Orchestra, London Symphony Chorus, BBC Symphony Chorus - BBC Proms (Photo: BBC/Chris Christodoulou)

The massed timpani (ten players in charge of 19 drums) were placed in an arc behind the orchestra. Behind them came two of the extra brass ensembles, with the other two at the back of the choir. This meant that Pappano had a remarkable degree of control over his ensemble, but that we lacked the real spatial effect that Berlioz planned for his dramatic work.

Another point to bear in mind is that the massed brass and timpani only really contribute to three movements. Berlioz's conception of the Requiem is not one of blood and thunder, and much of it is contemplative. For many of the movements, Pappano and his forces brought an austere clarity to the piece with a definite sense of presence to Berlioz's striking passages made from just two or three ideas, each strongly drawn. What I missed at the Royal Albert Hall was the sense of bloom that a resonant acoustic like St Paul's brought to the work (and I must admit that that experience definitely depended on where you sat!)

Redefining how classical music is experienced: Between Mountains Festival returns with an expanded programme,

Between Mountains Festival

Following a successful inaugural edition, Between Mountains Festival returns to Holdenweid in Hölstein, Switzerland, from 4-6 September 2026, expanding from a one-day premiere into a three-day festival experience. Set among the rolling hills of Basel-Landschaft at the foot of the Jura Mountains, the festival once again brings together classical music, electronic sounds and experimental forms in a unique natural setting.

At the heart of Between Mountains is a simple idea: to create an open space where music can be experienced beyond traditional boundaries. While the programme spans a wide range of genres, classical music remains a central pillar of the festival, presented in a way that feels welcoming, contemporary and accessible to new audiences. Chamber music, contemporary works and genre-defying performances unfold alongside electronic live sets, inviting listeners to discover music without preconceived categories.

The 2026 classical programme features internationally acclaimed artists including Dobrawa Czocher, Beatrice Berrut, Alexandra Maria Seywald, Simon Höfele, Kai Schumacher, Detect Ensemble, Junges Kammerorchester Baselland, Kebyart, Los Sara Fontan, duo equinox, maTrigal and Maximilian Wolfgang Schwarz. On the electronic side, the festival welcomes Acid Pauli, Sebastian Mullaert, Stimming, Robot Koch, Earth Trax and AFAR, creating a programme that moves seamlessly between attentive listening, sonic exploration and collective celebration.

New for 2026 is the expansion into a full festival weekend, including on-site accommodation and camping, allowing visitors to fully immerse themselves in the unique atmosphere of Holdenweid and experience music, nature and community over three days. Ahead of this year's edition, we spoke with co-founder and conductor Baldur Brönnimann about the festival's vision, creating new audiences for classical music and why listening without labels matters more than ever.

Between Mountains has grown from a one-day event into a three-day festival in just its second year. What inspired this expansion?

The long-term vision was always to create a three-day festival. The first edition allowed us to test the concept and see how audiences would respond. The reaction from visitors, artists and the press was overwhelmingly positive, so we decided to take the next step. Expanding the festival also allows us to create a more complete experience. This year, visitors can camp on-site and stay throughout the weekend, making Between Mountains feel like a true destination rather than simply a series of concerts.

Classical music sits alongside electronic and experimental performances throughout the programme. How did this concept emerge?

Listening habits have changed dramatically. Today, people discover music through playlists that naturally combine different genres. We wanted the festival experience to reflect that reality. We deeply believe in the power of classical music, but we don't believe it should exist in an ivory tower. Bach, Debussy or Lachenmann deserve to be experienced alongside other ambitious music, without audiences feeling they need specialist knowledge before attending. Ultimately, we hope people stop thinking about genres altogether and simply enjoy great music.

This year's programme features internationally recognised soloists alongside emerging musicians. How do you curate the classical programme?

Our programming follows three principles. First, we want to give young artists opportunities to present their work and reach new audiences. Second, supporting local musicians is essential because sustainability is one of the festival's core values. Finally, we are drawn to artists with broad musical curiosity - musicians who perform across different styles and periods, compose, arrange, improvise and collaborate across disciplines.

Throughout your career you've championed contemporary repertoire and new concert formats. How has that influenced Between Mountains?

I actually think there are more people interested in classical music today than ever before - but many of them simply don't attend traditional concerts. If classical music wants to remain relevant, we need to reconnect with today's composers and today's aesthetics, while also creating formats that feel natural, welcoming and engaging, without unnecessary formality. That's really the central idea behind Between Mountains.

How does the Holdenweid setting change the experience of listening to classical music?

Nature becomes part of the performance. Whether you're hearing birds outside, water flowing nearby or looking through the trees while listening to music, the surroundings add another dimension to the experience. People can move freely, meet the artists, have a drink and continue listening throughout the day. That creates a much more democratic way of experiencing classical music than the traditional concert hall.

Many organisations are trying to attract younger audiences to classical music. How does Between Mountains approach this challenge?

We're certainly part of that conversation, and many organisations are curious about the format. More importantly, though, we simply want to create unforgettable musical experiences. If people discover classical music because they came for the atmosphere - or because they were also interested in electronic music - that's exactly what we hope for.

Someone might hear a chamber concert in the afternoon and an electronic live set at night. What do you hope audiences take away from those encounters?

We want people to follow their ears rather than categories. Algorithms increasingly recommend only what we already know and like. That shapes not only how we listen but also how we think. Music should do the opposite - it should introduce us to unexpected ideas and experiences. The mix of genres at Between Mountains is our way of encouraging curiosity and openness.

Supporting young and regional artists is another important part of the festival. Why is that so central?

We don't want the festival to arrive once a year like a meteorite and disappear again. Supporting local musicians creates a lasting connection with the region, while also ensuring public funding directly benefits the artistic community that surrounds us. We hope Between Mountains leaves a legacy beyond the festival weekend itself.

As the festival grows, what role do you hope it will play within the classical music landscape?

Hopefully, Between Mountains can demonstrate that classical music can be presented in ways that are both informal and artistically ambitious. There are many wonderful festivals working towards similar goals, and we'd like to contribute by showing that classical music doesn't lose its depth when presented differently. If anything, it becomes more accessible, more democratic and more surprising. 

Memories are made of this: Tugan Sokhiev & Vienna Philharmonic in Prokofiev's Romeo & Juliet, plus Debussy & Ravel with Lang Lang in Salzburg

Tugan Sokhiev, Vienna Philharmonic - Salzburg Festival (Photo: Marco Borrelli)

Ravel: Piano Concerto in G, Debussy: La Mer, Prokofiev: Romeo & Juliet (excerpts); Lang Lang, Vienna Philharmonic Orchestra, Tughan Sokhiev; Salzburg Festival at Grosses Festspielhaus
Reviewed 8 August 2026

Vividly etched movements and a sense of real danced drama in episodes from Prokofiev's ballet alongside Lang Lang in somewhat self-indulgent mood in Ravel

The Vienna Philharmonic Orchestra and conductor Tugan Sokhiev are old friends. He has conducted them on several tours as well as the gala concert to celebrate Johann Strauss's 200th birthday, and this year they have a European tour.

On Saturday 8 August, Tugan Sokhiev conducted the Vienna Philharmonic in a matinee concert at the Salzburg Festival in the Grosses Festspielhaus with Ravel's Piano Concerto in G (soloist Lang Lang), Debussy's La Mer, and Sokhiev's own selection of movements from Prokofiev's Romeo & Juliet suites.

We began, unusually, with the concerto. Lang Lang started out light, almost reticent, a twinkle rather than dazzle contrasting with crisp jazz in the orchestra. But then with the second subject, his approach was intimate, laid back with plenty of rubato rather leaving blues and jazz behind. Throughout the movement there was this strong contrast between mood and tempo and I confess I found Lang Lang's more laidback passages somewhat self-indulgent. The second movement began quiet, slow and thoughtful, though intensity picked up as the orchestra joined the soloist. Yet overall, it seemed remarkable to sustain the intensity at such a slow temp. The third movement really did give us fast, vivid dazzle, with a strong orchestral personality and fine woodwind solos. The end was so fast it felt like Lang Lang saying 'look at me'.

Lang Lang, Tugan Sokhiev, Vienna Philharmonic - Salzburg Festival (Photo: Marco Borrelli)

Heavenly joy & earthly travails: Philippe Sly is compelling as St Francis in Romeo Castellucci's mesmerising & frustrating vision Messiaen's opera in Salzburg

Messiaen: Saint François d’Assise - Philippe Sly - Salzburg Festival (Photo: Monika Rittershaus)

Messiaen: Saint François d’Assise; Philippe Sly, Lauranne Oliva, Sean Panikkar, Russell Braun, director: Romeo Castellucci, Vienna Philharmonic Orchestra, conductor: Maxime Pascal; Salzburg Festival at the Felsenreitschule
Reviewed 9 August 2026

An evening like no other: a selfless & compelling performance from Philippe Sly illuminates a production of Messaien's mammoth opera that was by turns mesmerising & frustrating as director/designer Romeo Castellucci sought a physical counterpart to the music's transcendence.

Mounting Olivier Messiaen's Saint François d’Assise remains a bold undertaking. Premiered at the Paris Opera in 1983, it had to wait until 1992 for a further production at the Salzburg Festival, with the festival reviving it in 1998. The sheer length and complexity of the work, allied to the numbers of performers required allied to the striking subject matter (how does one stage a long scene where St Francis receives the stigmata?) and the challenge of the huge title role (Jose van Dam sang it both in 1983 and 1992) all mitigate against the piece. Yet if a company dares, then the rewards are remarkable.

For 2026, the Salzburg Festival has returned to Messiaen's Saint François d’Assise with a new production directed, designed and lit by Romeo Castellucci at the Felsenreitschule. Dramaturgy was by Christian Longchamp, and choreography by Yasmine Hugonnet. Maxime Pascal conducted the Vienna Philharmonic Orchestra with the chorus of the Vienna State Opera off-stage throughout.

Philippe Sly was St Francis, with Lauranne Oliva as the Angel, Sean Panikkar as the voice of the Leper, Russell Braun as Brother Leo, Leo Vermont-Desroches as Brother Masseo, Aaron-Casey Gould as Brother Elie, Willard White as Brother Bernard, Marius Aron as Brother Sylvestre, and Ivan Lyvch as Brother Rufin. Additionally, there were twelve dancers (six angels, six Franciscan brothers), plus twenty actors along with sheep, a dog and a pea-hen.

Darkness visible: remarkable performances from Jonathan Tetelman & Asmik Grigorian in Bizet's Carmen directed by choreographer Gabriela Carrizo in Salzburg

Bizet: Carmen - Asmik Grigorian - Salzburg Festival (Photo: Virginia Rota)

Bizet: Carmen; Asmik Grigorian, Jonathan Tetelman, Kristina Mkhitaryan, Davide Luciano, director: Gabriela Carrizo, Utopia Orchestra, conductor: Teodor Currentzis; Salzburg Festival at the Grosses Festspielhaus
Reviewed 8 August 2026

Shorn of dialogue & with an added dance element, this experimental production created a remarkably dark-toned Carmen with fierce undertones leading to an astonishing final scene.

With Carmen, Bizet left us with something of a conundrum. Not that the opera is incomplete, but first off what does Bizet's final version of the opera consist of? A new edition by Paul Prevost for Bärenreiter publishes all surviving versions of material thus allowing companies to choose. Though it has to be pointed out that Bizet published his own final vocal score of the piece.

Then there is the spoken dialogue. Before his death, Bizet had signed a contract with the Court Opera in Vienna, so he obviously intended to provide sung recitatives. Ernest Guiraud's recitatives are a workman-like solution to the problem and definitely in character, but what would Bizet have done? The question tantalises. The Opera Comique version of Carmen has a remarkably sympathetic way of modulating between dialogue, melodrama and fully sung, so you can't help feel Bizet would have had a similarly imaginative solution to creating grand opera Carmen.

Modern day opera companies tend to prioritise Bizet's own version of the opera with dialogue yet stretches of spoken French remain a challenge.

Bizet: Carmen (Act Two) - Salzburg Festival (Photo: Virginia Rota)

At the Salzburg Festival, a new production of Carmen was entrusted to director and choreographer Gabriela Carrizo, founder of Peeping Tom dance company, and conductor Teodor Currentzis and his Utopia Orchestra. The performance included Currentzis's Utopia Choir and Bachchor Salzburg with eight members of Carrizo's Peeping Tom company. Design was by Christof Hetzer, lighting by Tom Visser and sound design by Raphaelle Latini.

Asmik Grigorian was Carmen with Jonathan Tetelman as Don Jose, Kristina Mkhitaryan as Micaela, Davide Luciano as Escamillo, Iveta Simonyan as Frasquita, Anita Monserrat as Mercedes, Matthias Winckhler as Zuniga, Liviu Holender as Morales, Michael Arivony as Le Dancaire, Mingjie Lei as Le Remendado and Amparo Cortés as Lillas Pastia.

With Brussels-based Peeping Tom, Gabriela Carrizo's artistic practice involves dance and theatre, using hyperrealism and surrealism to reveal characters' hidden desires and impulses. Carmen seems to have been her first opera and for all the brilliant moments in the staging, you felt she struggled somewhat with the rather fixed nature of the operatic form - this is the score, perform it!

The most controversial decision was to remove the spoken dialogue (something Sally Potter did in her ill-fated Carmen for ENO in 2007), though with such an international cast (Lithuanian, Chilean/American, Armenian, Italian, Russian, British, German, Austrian...) this is understandable in a way. Replacing the dialogue with dance/drama passages using Latini's sound designs - disturbing tonally - was not altogether successful in filling in the gaps. In the first two acts, you rather had to know the story. Quite what a first time attender made of it, I don't know. The first time we hear Don Jose, he is singing to Micaela and we never hear Carmen laugh, nor does she taunt Don Jose.

Life on Mars: Ersan Mondtag's futuristic vision of Strauss's Ariadne auf Naxos at the Salzburg Festival

Richard Strauss: Ariadne auf Naxos - Michael Porter (Scaramuccio), Lukas Enoch Lemcke (Truffaldin), Ziyi Dai (Zerbinetta), Leon Košavić (Harlekin), Theodore Browne (Brighella) - Salzburg Festival (Photo: Thomas Aurin)

Richard Strauss: Ariadne auf Naxos; Kate Lindsey, Christina Nilson, Eric Cutler, Ziyi Dai, Johannes Silberschneider, Christoph Pohl, director: Ersan Mondtag, Vienna Philharmonic Orchestra, conductor: Manfred Honeck; Salzburg Festival at the Haus für Mozart
Reviewed 7 August 2026

Interdisciplinary artist Ersan Mondtag's over-elaborate and confusing futuristic vision of Ariadne auf Naxos fails to convince as stage drama but redeemed by fine musical performances

Though Richard Strauss and Hugo von Hofmannsthal's Ariadne auf Naxos (in its various iterations) was firmly based in the 17th century of Moliere, did it occur to the good burgers of Stuttgart (where the first version premiered), Berlin or Vienna that it was they who were being satirised? The work might be about the complex process of making art but it also has things to say about those paying for it.

To be really daring, the new production of Ariadne auf Naxos at the Salzburg Festival should have been set in and around the Haus für Mozart in the present day. Instead, Ersan Mondtag's production was set in a fantasy future in an enclave on Mars.

We caught the second performance of Richard Strauss's Ariadne auf Naxos at Salzburg Festival's Haus für Mozart on 7 August 2026. Ersan Mondtag directed and designed, Manfred Honeck conducted the Vienna Philharmonic Orchestra. Choreography was by Ashley Alexandra Wright with video by Alexander Pannier. The dramaturg was Till Briegleb, a role perhaps more important than usual in this production as the plot of the opera had undergone significant changes.

Richard Strauss: Ariadne auf Naxos - Christina Nilsson (Ariadne) - Salzburg Festival (Photo: Thomas Aurin)

Kate Lindsey was the composer, Christina Nilsson was Ariadne, Eric Cutler was Bacchus, Ziyi Dai was Zerbinetta, Johannes Silberschneider was the majordomo, Christoph Pohl was the music master, Jonas Hacker was the dancing master with Leon Kosavic, Michael Porter, Lukas Enoch Lemcke and Theodore Browne as Zerbinetta's troupe, Jasmin Delfs as a Naiad, Anja Mittermüller as a Dryad and Marlene Metzger as Echo.

Ersan Mondtag is a multi-disciplinary artist whose credits include the German pavilion at the Venice Biennale as well as directing opera for Opera Vlaanderen, Deutsche Oper Berlin, Teatro dell'Opera in Rome, and Opera national de Lyon. His most recent operatic credit was Bizet's Les Pecheurs de Perles for Vienna State Opera set in the world of high fashion.

At the Salzburg Festival, director Christof Loy & a strong cast demonstrate that less is more in Mozart's Cosi fan tutte

Mozart: Cosi fan tutte - Lea Desandre, Victoria Karkacheva, Elsa Dreisig, Johannes Martin Kränzle, Andrè Schuen, Bogdan Volkov - Salzburg Festival (Photo: Monika Rittershaus)

Mozart: Cosi fan tutte; Elsa Dreisig, Victoria Karkacheva, Bogdan Volkov, Andrè Schuen, Lea Desdandre, Johannes Martin Kränzle, dir: Christof Loy, Angelika Prokopp Sommerakademie der Wiener Philharmoniker, Wiener Philharmoniker, cond: Joana Mallwitz; Salzburg Festival at the Grosses Festspielhaus
Reviewed 6 August 2026

I have sometimes found Christof Loy's work to be too cerebral, but here his stripped down production worked superbly, releasing the combined talents of a strong cast to create something rather special

After the hyper-busy staging of Rossini's Il viaggio a Reims the previous night [see my review], Thursday 6 August saw a production of Mozart's Cosi fan tutte at the Salzburg Festival in the Grosses Festspielhaus that was in complete contrast. Christof Loy's new production was a restudied version of his 2020 COVID-era Cost fan tutte (in a version trimmed to well under three hours). The new production saw the 2020 cuts reversed and the staging reconsidered.

Joana Mallwitz conducted the Angelika Prokopp Sommerakademie der Wiener Philharmoniker alongside members of the Wiener Philharmoniker. Elsa Dreisig was Fiordiligi, Victoria Karkacheva was Dorabella, Bogdan Volkov was Ferrando, Andrè Schuen was Guglielmo, Lea Desdandre was Despina, and Johannes Martin Kränzle was Don Alfonso. Sets were by Johannes Leiacker, costumes by Barbara Drosihn and lighting by Olaf Winter.

Christof Loy conceived the production for the Grosses Festspielhaus, 'a performance on this gigantic stage that nevertheless manages to be very intimate' as Loy described it in the programme book. 'It dispenses with all external aids: there are only two doors, the characters, the music ... The performers are far closer to the audience.'

Mozart: Cosi fan tutte - Bogdan Volkov, Andrè Schuen - Salzburg Festival (Photo: Monika Rittershaus)

The playing area was relatively narrow with steps leading down into the orchestra pit. Costumes were plain black and modern in style, and whilst Fiordiligi and Dorabella's shoes were relatively ordinary black court shoes, I am assured that Despina's shoes were something rather special. When the men were in disguise they were in colour, no silly wigs or costumes here.

Virtuoso tour de force of triviality: Barrie Kosky's production of Rossini's Il viaggio a Reims at the Salzburg Festival

Rossini: Il viaggio a Reims - Tara Erraught, Cecilia Bartoli - Salzburg Festival (Photo: Monika Rittershaus)

Rossini: Il viaggio a Reims; Cecilia Bartoli, Marina Viotti, Mélissa Petit, Tara Erraught, Edgardo Rocha, Dmitry Korchak, Ildebrando D'Arcangelo, Florian Sempey, Misha Kiria, Peter Kellner, Giovanni Romeo, dir: Barrie Kosky, Les Musiciens du Prince-Monaco, cond: Gianluca Capuano; Salzburg Festival
Reviewed 5 August 2026

Rossini's occasional comedy reinvented by Barrie Kosky as hyperactive farce in an over the top performance with strong musical contributions

Rossini's Il viaggio a Reims was written for an occasion, the coronation of Charles X of France, and never performed again, though Rossini's music is of the highest quality. He would, in fact, re-use material in Le comte Orgy and but it was not until the 1980s that the original work was performed again. It is more than an occasional piece, the music ensures that, though companies music field a wide range of Rossini stylists.

Barrie Kosky's production of Rossini's Il viaggo a Reims debuted at the Salzburg Easter Festival and returned to Salzburg's Haus für Mozart for the summer Salzburg Festival, opening on 5 August 2026. Gianluca Capuano conducted Les Musiciens du Prince-Monaco, a period instrument ensemble whose founding was the inspiration of Cecilia Bartoli. She was something of a presiding genius over this production, not only singing Corinna but appearing out of a cake as herself at the climax of celebrations at the end of the opera.

The rest of the cast included Marina Viotti as Marchesa Melibea, Mélissa Petit as Contessa di Folleville, Tara Erraught as Madama Cortese, Edgardo Rocha as Cavalier Belfiore, Dmitry Korchak as Conte di Libenskof, Ildebrando D'Arcangelo as Lord Sidney, Florian Sempey as Don Profundo, Misha Kiria as Barone di Trombonok, Peter Kellner as Don Alvaro, and Giovanni Romeo as Don Prudenzio, with the Choeur de l'Opéra de Monte-Carlo.

Rossini: Il viaggio a Reims - Peter Kellner, Florian Sempey - Salzburg Festival (Photo: Monika Rittershaus)

In the programme book, Barrie Kosky described the work as 'an exquisite confection' commenting that 'the characters are not developed', they have to be 'fleshed out by the performers'. In Rossini's day this probably relied on his distinguished singers (who included Giuditta Pasta and Laure Cinti-Damoreau) bringing out the original Romantic context for each of the set pieces. Kosky's solution was to play the piece as hyperactive farce. His production had many of the elements of farce, not just its pacing and mad-cap activities. There were plenty of entrances and doors - five in the first scene including three revolving doors, 13 in the second scene. There was much bedroom hopping in that second scene, along with many characters stripped down to their underwear. All prime ingredients of farce.