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Joana Mallwitz pairs rare Luigi Nono with Mahler's Fourth Symphony at the Konzerthausorchester's Musikfest Berlin programme. 

An enticing Barbican programme from Barbara Hannigan, seeking light out of darkness in pieces spanning three different centuries, and an electrifying vocal performance by mezzo-soprano Fleur Barron. 

Marking the beginning of a new artistic direction, the Komische Oper's new production of Nono's Intolleranza 1960 proves a success, with director Marco Štorman's deep rethinking of the theatre stage.

Hannigan plays with expectations, opening with a single spotlight after a complete stage blackout to dramatic effect, and I am pretty sure she was rocking slippers on stage. 

Vladimir Jurowski is fond of grand statements, and sometimes off-the-wall programming – genius when it works, baffling when it doesn’t. 

On the eve of the Musikfest Berlin, Isabelle Faust’s performance of Luigi Nono’s La lontananza nostalgica utopica futura was an extraordinary time capsule back to the work’s premiere in 1988.

Luigi Nono's epic treatment of the Prometheus myth took over a fomer turbine hall in the heart of the Ruhr.

Listening is the only requirement for travelling through the spatial soundscapes of Luigi Nono’s rarely performed masterpiece Prometeo. Looking almost got in the way at the Holland Festival.

Barbara Hannigan stars both as singer and conductor with ensemble Ludwig at the Concertgebouw. This is a difficult double act and one that doesn't entirely succeed.

Karlheinz Stockhausen has done rather well out of this weekend’s instalment of Southbank Centre’s The Rest is Noise festival, with his music featuring in all three of the concerts as well as the mouthwatering additional event “Breakfast with Stockhausen”.

The 1960s and 70s are famous for breakthrough developments in rock music, but the story was really no different for the field of art music during those decades. The advent of electronics seems to have instilled in composers a fresh thirst for sound-exploration and conceptual writing.

You can’t accuse Vladimir Jurowski of lacking ambition. This LPO concert of his, featuring artfully sequenced works by Beethoven, Schoenberg and Nono, was dedicated “to all the people in the world who are still suffering injustice”.

Aisha Orazbayeva rests her violin under her chin as the welcoming applause subsides. She raises her bow and nonchalantly touches the screw at its tip against one of the strings, making an extremely quiet 'ting'. I, probably along with a good percentage of the Kings Place audience, am unsure as to whether or not the concert has started.It has done.