The world's largest annual open-air classical concert needs no introduction, but Schönbrunn's Baroque park still supplies one every June: torchlit gardens standing in for a concert hall and a Viennese audience with the best seats in Europe. This year's instalment, recorded on 19 June, brought two Summer Night Concert debuts of consequence — Lorenzo Viotti on the podium and Sir Bryn Terfel as soloist, despite decades of prior collaboration with the orchestra. It hardly sounds like a first date.

Perhaps the biggest surprise arrives with Faded Blue Jeans, featuring Josh Homme. It's an unlikely pairing that somehow makes complete sense, with Homme's gravelly vocals adding a rugged edge to a song that blurs the boundaries between country, blues and rock. Their chemistry is effortless, and the result is one of the album's most memorable collaborations

Over the course of more than three decades, Shawn Colvin has established herself as one of America's most captivating performers and revered storytellers.

There is a particular pleasure in returning to a recording again and again as a reviewer and finding that it yields something new each time, while one thing remains constant. With this latest Chandos disc from Elena Urioste and Tom Poster, that constant is the sheer beauty of the playing: the balance between soloist and accompanist is judged to perfection, and the engineers have done what Chandos so often manages, capturing the sound with such transparency that the listener seems to be eavesdropping on the duo rather than hearing a recording at all. It is sublime, moving and endlessly captivating.

Despite a shaky start, Simon Cowell's December 10 seems to be finally making headway. With the assumption that a Netflix series would propel them to instant international success and huge chart acclaim, they appear to have fallen very far short of those anticipations.

With the release of their moving duet version of Real Man, MORGXN and JB Somers have transformed a deeply personal song into a powerful conversation about masculinity, vulnerability, faith, and identity. Originally written from Somers' experience growing up as a pastor's kid in Alabama, the track takes on new resonance with MORGXN's soaring vocals and shared perspective.

Welser-Möst and his orchestra match her at every step, the scoring tracking each swerve of feeling with unusual sensitivity: a trilling xylophone stands in for the ringing telephone with real wit, and the string textures underneath give the whole thing an unexpected warmth even at its bleakest.

The singing itself is the chief pleasure here. Just fifteen sopranos and altos produce a remarkably well-blended sound under Searles' direction, the tone consistently lovely and the diction unusually clean for a choir working in such a resonant space. Phrasing throughout is intelligent and unforced.

Reuniting with Stuart Price proves to be the masterstroke. Their chemistry remains extraordinary, creating a seamless collection of club music that feels both classic and contemporary. House, disco, electro and synth-pop flow effortlessly into one another, with every transition designed to keep the energy moving. It's a record built to be experienced as a whole rather than dissected into individual streaming moments—a rarity in modern pop.

Amateur musicians of all ages will get the chance to rehearse and perform with award-winning saxophonist and CBSO Collaborative Artist Jess Gillam as part of ‘CBSO in the City’ which will bring free performances to iconic spaces across Birmingham this summer (27-31 August) for the third year.

Few artists capture the complexities of human emotion quite like Scott Quinn. The British singer, songwriter and multi-instrumentalist returns with his poignant new single, Places in London, a heartfelt reflection on the hidden losses that linger after heartbreak.