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Last autumn Helene Grimaud released a fine recording of Brahms’ piano concertos under the baton of Andris Nelsons: to hear them perform the second concerto live with the Philharmonia Orchestra was to realise anew what a superb symbiosis they can achieve.

A boy writes ‘Jud’ (Jew) on a building in Vienna in 1938

Over half of Austrians think the Nazis would be elected if the party was readmitted to politics

75 years after Hitler annexed country, poll reveals worrying views about banned party

A unique blend of beauty, tone and projection

I've had the Regent Stradivarius since 2000, and it's just like having a child

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Brindley Sherratt and Katherine Manley get to know each other
in ENO's glitzy take on Medea, set in the Second World War

Classical review: Medea - Hello, sailor! The fleet's in and it's one hell of a show

All the nice girls love a sailor. But so do the mad girls and the bad girls. Exquisitely bored by the monotonous hum and click of sewing machines and knitting needles in a snowbound fishing village, Senta annihilates herself for love of the cursed hero of The Flying Dutchman. Enraged by rejection, and pressed on all sides by the complex politics of an uneasy military alliance, the sorceress Medea slaughters her children and poisons her rival to wring hot tears from the cold eyes of unfaithful Jason.

Album: Fanfara Tirana meets Transglobal Underground, Kabatronics (World Village)

For more than 20 years, London's TGU have placed traditional "world music" sounds in a contemporary context in an unforced, unexploitational way that works because they collaborate rather than just appropriate.

Sir Cliff Richard performing at another Royal dwelling, Buckingham palace, for the Queen's Diamond Jubilee last June.

Sir Cliff Richard to headline Hampton Court Palace Festival

Sir Cliff Richard and Frankie Valli will headline a festival in the historic setting of Hampton Court Palace in June.

Killer chords: Wilko Johnson

On the brink of death but still creating

Wilko Johnson is about to embark on his farewell tour. He's not the first artist to use a terminal diagnosis as inspiration to carry on performing

Storgards, Hardenberger, BBC Philharmonic, Bridgewater Hall, Manchester

The most powerful weapon in the opera designer’s armoury is lighting, which allows musical atmosphere to be changed by the flick of a switch: Ravel’s ‘L’enfant et les sortileges’ was never more resonant than when lit by David Hockney’s glowing reds, greens, and mauves.

Perfect pace: Esa-Pekka Salonen in rehearsal for Woven Words, which marks the centenary of Witold Lutoslawski

Album review: Barbra Streisand, Classical Barbra (Sony Masterworks)

These days, every two-bit MoR belter gets to make a “classical” album; but when Barbra Streisand released Classical Barbra in 1976, it was a rare and risky gambit.

Album review: Alisa Weilerstein, Daniel Barenboim, Elgar, Carter: Cello Concertos (Decca)

Virtuosi seem to know what they must do from an early age: in Alisa Weilerstein's case, her first “cello” was made from a cereal box and a toothbrush, when she was just two. Since then, she's played with conductors such as Mehta, Dudamel and, here, Daniel Barenboim and the Staatskapelle Berlin.

The sisters, from the left: Maxene, Patty and Laverne

Patty Andrews: The last of the Andrews Sisters

The Andrews Sisters were the American equivalent of Vera Lynn with the British troops in wartime. They boosted morale, sold war bonds and were the forces' sweethearts who made GIs reminisce about life back home. They sold 50 million records, which included "Boogie Woogie Bugle Boy", "Beat Me Daddy Eight To The Bar" and "Don't Sit Under The Apple Tree".

Krystian Zimerman, Esa-Pekka Salonen, Royal Festival Hall, London

Given that they’ve slapped their ‘Rest Is Noise’ logo on half the coming year’s output, it’s strange the Southbank Centre should have left it off their series celebrating the centenary of Witold Lutoslawski.

Max Hole, pictured with singer Karen Mok, has called on the Classical music industry to shed its stuffy and elitist image

Exclusive: Orchestras must 'ride the wave of change' or die

New boss of Universal Music issues clarion call urging musicians to engage with audiences

Max Hole is right - conductors must do more

So classical music fails to attract young audiences, and it’s the fault of orchestras  – that’s the verdict of one of the most powerful people in the music business.

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