BBC Proms 2026 - Our Top Related Recordings

'He is the real thing, a once-in-a-generation talent...What is immediately striking is the sheer confidence and poise of everything he does, and the overriding sense that there is never any doubt about the direction in which this majestic concerto should be taken; it’s hard to believe that this is the performance of an 18-year-old.' (The Guardian)

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'The French soprano and composer’s debut disc is an engrossing exploration of the range of the human voice, which Werner pushes to its limits and beyond on works by herself and those of fellow visionaries such as Josephine Stephenson, Cheryl Frances-Hoad and Nico Muhly.' (The Sunday Times)

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'Selaocoe inhabits a captivating sphere of spontaneous, mercurial creativity...In Selaocoe’s hands the cello is a shape-shifter...Song is the dominant form: everything flows from his own extraordinary voice, a soothing baritone that can plunge into unfathomable bass via Xhosa-style throat singing.' (BBCMM)

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'The delights of Davis’s transcriptions extend much further than surface attractions...Full of tenderness, grandeur, sparkle and joy, these are transcriptions by someone who understood Bach and the organ equally well. And, of course, the orchestra. Highly recommended.' (The Times)

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'What we get with Dunford’s Bach is a certain purity, a relatively unadorned line which assimilates articulation in favour of flow and clarity. The expression – of form or emotion – is all in the phrasing, which relies on the art of silence as much as a subtle rubato. It’s quite beautiful and refreshing, as though excrescences have been shorn away to reveal the classical architecture underneath.' (Gramophone)

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'This is an embarrassment of riches, almost overwhelmingly good...the instrumental playing is so vital and responsive it's as if Dunford has Dowland on speed-dial.' (Gramophone)

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'This is a high-voltage interpretation, virtuosically played and strong on detail and drama, in which Wilson digs deep into the complexities both of Respighi’s at times eclectic imagination and his extraordinary powers of orchestration…Wilson and his orchestra more than hold their own against their rivals, and perhaps just have the edge over them thanks to Chandos’s superbly engineered recording, which is state-of-the-art, and absolutely stunning.' (Gramophone)

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'Wilson is supreme in shading the orchestra to complement the cello line, both clear and expressive. In both cadenzas, Aasgaard draws a dramatically compelling narrative, again coupling precision with nuance and aplomb.' (BBCMM)

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'Bach played with no hang-ups, using the full resources of a magnificent organ… happily discarding any ideas of authenticity and completely shorn of that kind of hallowed reserve with which so many organists treat it. This is a joyous celebration of Bach’s music, not a kneeling, hands-together, head-bowed worship of it.' (Gramophone)

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'Complex but richly communicative, her compositions demonstrate this blend [of mind and heart' to a tee...Beautifully performed and recorded, this is a first-rate release, offering a timely showcase of this exceptionally talented composer.' (BBCMM)

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'[Frang's] sound is superb – icy, fiery, whispered, ultra-rich – and her phrases pour out fearlessly, urgently. It’s a fresh and convincing performance. She couples the Britten with the 1945 wartime concerto by Erich Korngold and doesn’t apologise for its syrupy contours, but also brings out interesting nuances of doubt and fragility. James Gaffigan and the Frankfurt Radio Symphony are robust backers' (The Guardian)

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'Recordings are as precise and committed as expected from conductors Pablo Urbina and Michael Seal, the spacious acoustics of Liverpool’s Philharmonic Hall doing full justice to the composer’s alternately luminous and effervescent sound world.' (Gramophone)

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'It’s a triptych occupying three distinct worlds, in which Adès is unsurprisingly at home in the Totentanz-like underworld of ‘Inferno’...It is physical, vivid and grotesque music from its jump-scare ‘abandon hope’ opening gambit and thrives on Adès’s technical wit (the missing beats of ‘The Deviants’ and all the outlandish orchestration).' (Gramophone)

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'Complex, dazzling scores that are at once tautly constructed yet freewheeling in their imaginative reach...The album as a whole really is outstanding, bringing together a sense of vision and virtuosity in what is a deeply felt celebration of the power of music.' (BBCMM)

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'Is the reading too Latin overall? No matter: Pappano has always seemed a lyricist rather than a brutalist, the Concertgebouw go with him all the way and there is some beautiful and virtuoso playing' (Gramophone)

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'The voice is rich, generous and vibrant, big but beautifully controlled, impeccably smooth throughout its range. It’s the sort of instrument you could listen to all day, in any sort of repertoire...The disc’s highlight, though, is the Sibelius, in which the mezzo pours her heart into grand, soaring accounts of some of the composer’s most seductive songs.' (Gramophone)

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'These performances are impressive. Ensemble is notably precise in Sibelius’s Finlandia, where the stern brass section and the tension of the strings provides the bedrock for a dynamic and highly motivated account. Individual wind soloists shine out in the Dvorak, notably Titus Underwood’s finely shaped cor anglais solo in the Largo, while the orchestra’s perception of the music’s charm and vivacity demonstrates a keen sense of character' (BBCMM)

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'Kopatchinskaja brings [virtuosity] to the [Stravinsky] in spades, but she also shatters the image of the work as a neo-classical homage to Bach...Her whole approach to Stravinsky...brings his world close to Prokofiev's...where Kopatchinskaja seems to be feeling her way into the music...A wonderful disc.' (BBCMM)

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'Nelson has a great feel for the weird structure of the piece, with its sudden lurches of pace and location...Nelson’s pacing is uncannily ‘right’; he’s not one to force Berlioz, period-style, but he’s no slouch either. He tempers excitement with grandeur...Spyres’s golden tenor is so well suited to Berlioz...this new version is a very serious competitor in the Faust stakes.' (Gramophone)

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'Ibragimova, with her wonderfully full, malleable tone, sinewy agility and deft expressiveness, proves a compelling exponent of this brilliant teenage score, combining it on this disc with an equally ear-catching performance of the later E minor Concerto...Ibragimova here adopts a style that goes hand in glove with the OAE’s, sparing with vibrato, lithe in articulation but at the same time appealingly reflective in the slow central movement.' (The Daily Telegraph)

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'Shani and the Israel Philharmonic create a finely detailed sound in both these concertos, allowing Argerich to duet gracefully with them in the Beethoven. Her touch is pearlised in the Allegro con brio, and in the Adagio – seldom so emotionally restrained – her compelling pianism almost made me hold my breath.' (BBCMM)

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'the intricacy of her writing – for instance, the conversational back-and-forth among the instruments – blossoms when it’s set out by a first-rate ensemble such as the Insula Orchestra.' (Gramophone)

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' Wilson’s handpicked band plays with a depth of sonority and variety of tone to challenge the greatest ensembles.' (The Sunday Times)

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'Cohen's take side-steps Joshua Rifkin's premise that it should be sung one-to-a-part and fields a choir of 20...Cohen announces the Credo at an invigoratingly purposeful lick...Tim Mead's eloquently restrained Agnus Dei is crowned by a Dona nobis pacem whose blazing grandiloquence grips.' (BBCMM)

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'A genuine collaborative spirit presides over these Shostakovich concerto performances, not to mention the dazzling execution and playful characterisation one expects from this particular piano soloist.' (Gramophone)

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'The Scottish tenor packs considerably more punch than I'm used to hearing in this repertoire, and I love it - Spence carries his vocal weight with consummate style and sensitivity, reserving the real firepower for climatic moments and bringing an exquisite tenderness to the more intimate songs such as 'Silent Noon'. The Piattis and Ridout, too, sound every bit as engaged with the texts as their singer throughout.' (Katherine Cooper, Presto Music)

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