There are probably two distinct audiences for the latest adaptation from Les Enfants Terribles, The House with Chicken Legs: the young teens who lapped up the fantasy novel by Sophie Anderson on which it is based, and the adults who came with them. The latter may not be as enraptured as fans of the book by the piece’s staging, not to mention its almost three-hour length. 

Intimacy isn’t everything, but there’s nothing like seeing dance live and up close. A good seat in a large theatre will give you the whole stage picture but lose the detail. Lost too will be that quasi-visceral connection with the movement.

What a month, and what a day, for Michael Barenboim to bring the West-Eastern Divan Ensemble to London.

Friday’s double-header at the Queen Elizabeth Hall on the Southbank was not only one of the final gigs in this year’s K-Music Festival – entering its tenth year with an eclectic range of Korean artists and bands performing across London and beyond – but also one of the launch gigs for this year’s EFG London Jazz Festival, now entering its 31^st year.

“Underneath the abject willow/ Lover, sulk no more;/ Act from thought should quickly follow:/ What is thinking for?” In 1936, early in their tempestuous friendship, WH Auden wrote a poem for Benjamin Britten that urged the younger artist to pursue his passions – musical and erotic – and curb his fearful longing for comfort and safety.

There is a great deal of sense in transposing electronic music to a symphony orchestra. However beautifully crafted, imaginatively constructed, and creatively programmed, the sounds that come out of synthesisers and other digital tools lack the knife-edge fallibility of music that is produced with the hand or the human breath. 

It’s a given that no finer Rachmaninov interpreter exists than Nikolai Lugansky – a few others may see the works differently, not better – and that Vasily Petrenko has an uncanny affinity with both the swagger and the introspection of Elgar. But just how clearly and deeply both made their understanding felt seemed like an harmonious miracle in the most famous of all Second Piano Concertos and a parallel journey of revitalisation from Petrenko in Elgar’s world-embracing First Symphony.

The Philharmonia’s current season, Let Freedom Ring, celebrates American music through some notably interesting programming. And although last night’s concert was very conventionally structured, with an overture, concerto and big symphony to finish, it was also the chance to hear some repertoire only quite rarely presented.

Martin Scorsese walks onstage to a hero’s welcome, shoulders a little hunched, with a touch of sideways shuffle or hustle, taking acclaim in his stride at 80. He has sold out London’s 2,700-capacity Royal Festival Hall for the BFI’s biggest Screen Talk by far, and the queue for returns stretches into the street, to see a director as big as any star.

Epic and intimate, philosophically anguished and rhapsodically transcendent, Mahler’s "Resurrection" Symphony remains one of the most mountainous challenges of the orchestral repertoire. For the opening of the Southbank’s new season Edward Gardner and the London Philharmonic Orchestra delivered an interpretation of superlative resonance and clarity, in which it felt that we explored every detail of the foothills as well as the earth-shaking views from the top.