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Nordic forests, Alpine sunlight and a Moorish nocturne. The ´óÏó´«Ã½ National Orchestra of Wales and conductor Thomas SøndergÃ¥rd play Wilhelm Stenhammar’s Excelsior!, Strauss’s An Alpine Symphony and Szymanowski’s opulent symphony subtitled ‘The Song of the Night’.

Richard Egarr and the Academy of Ancient Music play works by Handel and the Roman composers who inspired him. Soprano Sophie Bevan sings two Italian cantatas in a programme including concerti grossi by Corelli and Valentini and keyboard miniatures by Bernardo Pasquini.

Experience some of the vocal writing of Verdi’s Four Sacred Pieces with Mary King.

Sir Antonio Pappano, the Orchestra and Chorus of the Academy of Santa Cecilia, Rome, and soprano Maria Agresta celebrate Verdi’s bicentenary with the Four Sacred Pieces, the original version of the Requiem’s ‘Libera me’, a touching Ave Maria setting and the orchestral version of the great opera composer’s String Quartet.

Stolen gold and a world order in chaos. Daniel Barenboim and the Staatskapelle Berlin open the Proms cycle of Wagner’s epic operatic tetralogy The Ring of the Nibelung, with a cast hand-picked from Barenboim’s Berlin and Milan productions.

Daniel Barenboim’s Proms Ring cycle with the Staatskapelle Berlin continues with Die Walküre. Simon O’Neill and Anja Kampe sing the roles of the tragic twins Siegmund and Sieglinde, whose doomed love inspires the rebellion of Brünnhilde (sung by Nina Stemme).

Talking birds, dragon’s blood and a ring of fire. Lance Ryan sings the title-role in the third part of Daniel Barenboim’s complete Ring cycle with the Staatskapelle Berlin. Nine Stemme is the rebel Valkyrie, Brünnhilde, who teaches Siegfried love and fear.

Semyon Bychkov and the ´óÏó´«Ã½ Symphony Orchestra interrupt the Ring cycle to explore Wagner’s intoxicating tragedy Tristan and Isolde, a turning point in the history of Romantic music. Robert Dean Smith and Violeta Urmana are the illicit lovers.

Daniel Barenboim’s survey of The Ring of the Nibelung with the Staatskapelle Berlin concludes with betrayal, revenge, immolation and the return of the stolen gold to the waters of the Rhine. Nina Stemme sings the role of Brünnhilde, while Mikhail Petrenko is the vengeful Hagen.

Pianist Imogen Cooper, soprano Ruby Hughes, tenor James Gilchrist and guitarist Christoph Denoth mark Britten’s centenary in a sequence of song-cycles and miniatures, from Night Piece (Notturno) to A Charm of Lullabies, My beloved is mine and Abraham and Isaac.

Sing extracts from °Õ²¹²Ô²Ô³óä³Ü²õ±ð°ù with Mary King.

Acclaimed Wagnerian Donald Runnicles continues the Proms Wagner bicentenary celebrations with Wagner’s °Õ²¹²Ô²Ô³óä³Ü²õ±ð°ù. Robert Dean Smith sings the role of the titular troubadour who tires of sensual pleasure and longs for spiritual redemption

Two works by Gustav Holst, and two from the Polish composer Witold LutosÅ‚awski. Edward Gardner directs the ´óÏó´«Ã½ Symphony Orchestra in Holst’s Egdon Heath and The Planets and LutosÅ‚awski’s Symphonic Variations. Louis Lortie is the soloist in LutosÅ‚awski’s Piano Concerto.

In their second ´óÏó´«Ã½ Proms appearance this season, Mariss Jansons and the Bavarian Radio Symphony Orchestra are joined by Genia Kühmeier, Anna Larsson and the Bavarian Radio Chorus for Mahler’s epic Symphony No. 2, ‘Resurrection’, bringing a vision of life after death.

A late-night feast of sinfonias, arias and chorales as Sir John Eliot Gardiner, 70 this year, conducts the singers and players of the Monteverdi Choir and English Baroque Soloists in Bach’s Easter Oratorio and Ascension Oratorio.

Mary King explores Britten's mastery of word-setting in his vocal writing.

Vasily Petrenko conducts the National Youth Orchestra of Great Britain and young singers from across the British Isles in Beethoven’s Ninth Symphony, Vaughan Williams’s Walt Whitman setting Towards the Unknown Region and the world premiere of Mark-Anthony Turnage’s Frieze.

Late-15th-century motets from the Eton Choirbook alternate with music by Gustav Holst and his daughter Imogen and the UK premiere of Sir Harrison Birtwistle’s The Moth Requiem in an alluring programme from the ´óÏó´«Ã½ Singers and the Nash Ensemble under Nicholas Kok.

Celebrating their 40th anniversary, the Tallis Scholars return to the ´óÏó´«Ã½ Proms in a Late Night Prom interweaving the movements of John Taverner’s Missa Gloria tibi Trinitas with motets by the infamous aristocratic madrigalist Carlo Gesualdo.

Last heard at the Proms in 1977, The Midsummer Marriage is Tippett’s The Magic Flute, an opera rich in trials and transformations. Sir Andrew Davis conducts the ´óÏó´«Ã½ Symphony Orchestra and ´óÏó´«Ã½ Singers, with Paul Groves and Erin Wall singing the roles of Mark and Jenifer.

Explore the vocal writing in Brahms's A German Requiem with Mary King. Suitable for singers familiar with the work who want to get some vocal tips!

The City of Birmingham Symphony Orchestra plays Dvořák last ‘Old World’ Symphony, No. 8, under Andris Nelsons. Soprano Kristīne Opolais sings arias by Verdi and Tchaikovsky in a matinee that ends with a flurry of Viennese waltzes and polkas by Johann Strauss II.

Marin Alsop conducts the Orchestra of the Age of Enlightenment and the Choir of the Enlightenment in a rare performance of Brahms’s A German Requiem on period instruments. Brahms’s Tragic Overture and Schumann’s Fourth Symphony complete a powerful programme of mourning and consolation.

Sir Mark Elder conducts the ±á²¹±ô±ôé in Wagner’s final opera of sensual temptation and spiritual redemption, Parsifal. Lars Cleveman is the Holy Fool of the title, Katarina Dalayman the Magdalen figure Kundry, Detlef Roth the wounded Amfortas and Sir John Tomlinson Gurnemanz.

Sir Andrew Davis conducts the London Philharmonic Orchestra and the Glyndebourne Festival Opera cast in Britten’s predatory tragedy. Jacques Imbrailo sings the title-role, Brindley Sherratt is Claggart, Mark Padmore the spineless Captain Vere.

Josep Pons conducts the ´óÏó´«Ã½ Singers and ´óÏó´«Ã½ Symphony Orchestra in the world premiere of Charlotte Seither’s Language of Leaving. Frank Peter Zimmermann plays Brahms’s Violin Concerto in a concert that contrasts Stravinsky’s ballet Petrushka with a cappella motets.

In the last Cadogan Hall concert of the festival, tenor Ian Bostridge, lutenist Elizabeth Kenny and the viol consort Fretwork mark the 450th anniversary of the birth of John Dowland, the laureate of the Elizabethan lute song, in a sequence of galliards, lachrimaes and fantasias.

David Hill conducts the ´óÏó´«Ã½ Singers and the Choristers of Temple Church in Britten’s choral variations A Boy was Born, written when the composer was just 19 years old, and George Lloyd’s Requiem, dedicated to the memory of Diana, Princess of Wales.

A series of musical farewells as Osmo Vänskä conducts the ´óÏó´«Ã½ Symphony Orchestra in Tchaikovsky’s turbulent ‘Pathétique’ Symphony, Górecki’s Symphony of Sorrowful Songs and Anthony Payne’s orchestration of Vaughan Williams’s Four Last Songs.

Xian Zhang directs the Orchestra Sinfonica di Milano Giuseppe Verdi in Tchaikovsky’s symphonic drama Manfred and the overtures to La forza del destino and La traviata. Celebrated Maltese tenor Joseph Calleja sings arias from Rigoletto, Luisa Miller and I vespri siciliani.

A fun workshop with Mary King to get you ready for vocal action at the Last Night singalong.

Marin Alsop becomes the first female conductor of the Last Night of the Proms. Joyce DiDonato and Nigel Kennedy join the ´óÏó´«Ã½ Symphony Orchestra in a concert that runs from Rossini and Handel arias to a mass singalong, and from Vaughan Williams’s The Lark Ascending and rarities by Britten and Bantock to a new opener by Anna Clyne.