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John Wilson brings the best out of both Holst's music and the players of the RSNO, though Alice Coote fails to hit the heights in Elgar's Sea Pictures. 

The National Symphony Orchestra play a miniature by short-lived French composer Lili Boulanger and the European premiere of Joe Chindamo's trombone concerto. 

Elgar's Second Symphony crowns an all -English programme by John Wilson and his Sinfonia of London at the Aldeburgh Festival. 

A programme of orchestral showpieces are given the John Wilson treatment, although Rachmaninov's Symphonic Dances disappoints. 

The first programme in Stephen Hough's Sydney series sees him offer sensitive but not incandescent Rachmaninov, followed by thrilling performances of Respighi's Roman Trilogy under John Wilson. 

John Wilson brings colour, sparkle and dynamism to Rachmaninov's Symphonic Dances with the RSNO, while principal clarinet Timothy Orpen winds his way through Copland's Clarinet Concerto.

John Wilson and the Sinfonia of London give a masterclass in musical perfection in works by Walton, Ravel, Gershwin and Dutilleux.

The Sinfonia of London excels in works by British composers at the BBC Proms, launching some of the season's themes. 

The Bridgewater Hall's cycle of Vaughan Williams' symphonies continues with a gripping performance of the Ninth, coupled with a colourful account of Holst's The Planets. 

John Wilson navigates two of Ralph Vaughan Williams' symphonies at Bridgewater Hall, part of the RVW 150 celebrations.

Sounding under-rehearsed and unloved, these performances of two great works made for a frustrating evening that could have been so much more inspiring.   

Two dozen heroes played one of the house composer’s most intense and technically demanding scores with bravura skill and a collegiate musicality that stirred the spirit.

A rare outing for Britten's Piano Concerto in the opening concert of the Britten Weekend in Suffolk.

Spanning almost a century in musical terms, from the old-world elegance of Johann Strauss to one of his greatest admirers, Erich Korngold, John Wilson and the Sinfonia of London demonstrate orchestral excellence.

Celebration and infectious joy in Bennett and Gershwin, with silky textures and delicate precision in Ravel from John Wilson and the LSO.

When the pandemic struck and theatres were locked down, OperaGlass Works' staging of The Turn of the Screw was an early casualty. Creative thinking turned the production into a film, with London's oldest music hall the set. 

A welcome return from the Philharmonia saw John Wilson exercising his passion for English music in a Vaughan Williams masterpiece and an impressive Sheku Kanneh-Mason in Saint-Saëns.

Themes and Variations from Brahms and Dvořák, haunting Britten with Stuart Jackson and Alberto Menéndez Escribano, John Wilson standing in to conduct at City Halls, Glasgow. 

Cinderella undergoes psychoanalysis on the Sussex Downs as Fiona Shaw's production is revived for the Glyndebourne Festival. 

A classy and charming adventure through Gilbert & Sullivan with the OAE and John Wilson .

James Ehnes was an ideal soloist in Walton's Violin Concerto, well partnered by John Wilson and the BBC Philharmonic, with atmospheric Bax and a powerful Vaughan Williams 4.

John Wilson oversees a glossy, superficial take on early 20th-century works from England and the USA.

Porgy and Bess isn’t a perfect opera, but English National Opera's new production is a strong one. 

John Wilson was constantly persuading the orchestra to dig deep and to unearth the riches and miracles in the orchestral writing.

The effervescent John Wilson and his orchestra make Bernstein's musical sparks fly.

The Planets and Sinfonia antartica could be the Cav and Pag of British music.

Nathaniel Hackmann, a stocky baritone with the tenderest of timbres, was like a reincarnation of Alfred Drake.

A striking performance of The Planets had people humming their favourite bits on their way out of the hall, but the real winner was Vaughan Williams’ neglected valedictory symphony.

Under the baton of John Wilson, the Royal Concertgebouw Orchestra played Bernstein’s music with jazzy verve. The fine team of vocal soloists was lead by Kim Criswell.

A pleasant afternoon's entertainment with grand sweeps and some beautiful singing by Roderick Williams.

How picturesque do you like your Puccini? Do you take your Turandot sweet or sour? How much lacquer is layered over your ideal Madama Butterfly?

A packed Royal Albert Hall were treated to no less than seventeen works written and inspired by George and Ira Gershwin, in addition to three encores. 

The Sydney Symphony in a finely chiselled account of Vaughan Williams' “A London Symphony”, but groped for balance in Ravel and Bax.

A well-crafted programme at Symphony Hall showcasing the best of English music from the first half of the last century.

Vaughan Williams and Finzi given the Philharmonia treatment with John Wilson at the helm at the Royal Festival Hall.

Jonathan Scott, John Wilson and the BBC Philharmonic presented a thrilling concert of American organ solos, orchestral music and Copland's glorious Organ Symphony.

Marking 25 years since the death of Leonard Bernstein, Prom 67 celebrated his writing for stage and screen in a lively and colourful performance by the John Wilson Orchestra.

The John Wilson Orchestra was on superb form for this stylish Prom, delving into Sinatra's back catalogue with Seth MacFarlane. 

As part of the Festival Hall’s Sunday matinee series, John Wilson programmed three inspirational works by Bax, Walton and Vaughan Williams. 

John Wilson directs the National Youth Orchestra directs the National Youth Orchestra of Great Britain in a staggering performance of unbridled enthusiasm.

The John Wilson Orchestra has rapidly established itself as a Proms highlight. Following on from a standout My Fair Lady in 2012, this year's Kiss Me, Kate showed the Orchestra at its very best, with an equally fabulous cast and crew.

Die Fledermaus is as quintessentially Viennese as zithers and Schnitzel. In John Wilson, the Philharmonia and a fine ensemble cast, we should have had all the ingredients for a memorable matinée performance, but a few elements meant the fizz went rather flat.

Hooray for John Wilson and the magnificent musicians of his orchestra, for this programme of classics from Hollywood's golden age performed at Manchester's Bridgewater Hall.

John Wilson and his hand-picked orchestra provided the evening’s entertainment for this August bank holiday at the Royal Albert Hall with the Hollywood Rhapsody Prom. With no less that 108 musicians, the “golden age” of Hollywood was brought back to life in this annual Proms tradition.

Since the death of conductors like Isidore Godfrey, Malcolm Sargent and Charles Mackerras, all of whom feature heavily in the Gilbert and Sullivan discography with many excellent soloists of the last century, there has been no mainstream conductor that has really given the work of Gilbert and Sullivan its due; countless amateur dramatic societies and a few professional opera houses have done their

An orgy of British music greeted an appreciative audience at the Barbican last night courtesy of the BBC Symphony Orchestra, conducted by British music enthusiast John Wilson. But it certainly wasn’t all Land of Hope and Glory, or indeed The Lark Ascending, with three contrasting pieces – all now sadly neglected in the concert hall.Walton’s Scapino overture really set things in motion with a bang.

As London became a vision in white and all went quiet, the Southbank Centre was abuzz with all manner of arts-related activities. One rail replacement bus and a brisk walk behind me, I had made it to see the Philharmonia Orchestra’s matinee concert of 20th-century English music, framed around John Ireland’s Piano Concerto.

Assembling tonight in Leeds Town Hall for a programme of English and American scores by Adams, Britten and Holst, the National Youth Orchestra of Great Britain, directed by John Wilson, presented three fiendishly difficult works.

Franz Lehár’s favourite haunt was Vienna’s Café Sperl, and with the famous Theater an der Wien around the corner, Café Sperl became the meeting place for the operetta crowd around the turn of the 20th century. The Theater an der Wien was the site of the world première of Lehár’s tenth stage work, The Merry Widow, which met its enthusiastic public on 30 December 1905.