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Marking the 80th anniversary of the end of World War 2, Jonathan Nott conducts Benjamin Britten’s War Requiem in his final season as Music Director of the Tokyo Symphony Orchestra.

Fragmentation to ritual: this was no Rite of Spring of two halves but a single, vast architectural crescendo.

Installation art sounds a dissonant note with the sublime harmony of Saint François d’Assise in Adel Abdessemed's creation at the Grand Théâtre de Genève. 

More of a distraction than an enhancement, Ulrich Rasche’s giant steel machine grinds down the performers of this dark Elektra, which ultimately stumbles over its own feet.

Heroes emerge in adversity, and there are sterling turns from Leigh Melrose as a pugilistic Golaud and from the venerable Arkel of Matthew Best.

Seven months ago, when Tokyo’s musical scene was brought to a standstill by the Covid-19 pandemic, it was hard to envisage any orchestra performing Beethoven’s Ninth Symphony by December, an important year-end custom in Japan.

A century on from its birth, one of Switzerland’s leading orchestras finally makes its Proms debut in a scintillating programme of French and Russian music.

The Tokyo Symphony gave the Japanese première of Shostakovich's Tenth in 1954, less than a year after its first performance in Leningrad. Jonathan Nott’s approach could scarcely have been more different. 

Jonathan Nott, Johannes Moser, and the CSO portray a traditional program in particularly evocative fashion

The Concertgebouworkest's series based on 'the sublime' continues with an eclectic programme of Ockeghem, Ligeti, Varèse and Ravel at the Concertgebouw. 

Jonathan Nott and the London Symphony Orchestra deliver an energetic, precise and intense performance of Messiaen’s Turangalîla Symphony. 

The fifth Prom of the 2013 season welcomed Jonathan Nott and the Bamberg Symphony Orchestra to the Royal Albert Hall, with the Arditti String Quartet as soloists. Nott and his orchestra became an award-winning partnership in 2010, winning the MIDEM Award for their recording of Mahler’s Ninth Symphony.

After an impressive Sunday afternoon of Webern, Schubert, and Brahms, the Bamberg Symphony outdid themselves Monday evening in repertoire by Beethoven and Ives, and another Schubert symphony. Christian Zacharias again joined Maestro Jonathan Nott, this time for Beethoven’s Piano Concerto no. 4.

The Bamberg Symphony played the first of their two concerts at Lincoln Center on Sunday. The program had something of a Viennese bent, with works by Anton Webern (of the Second Viennese School), Schubert (the first of the great Romantics to call the city home), and Brahms (who lived there most of his life).

This was the second of a triptych of concerts in Baden-Baden centred around the Russian cellist Mischa Maisky, who played here with the Bamberger Symphoniker and Jonathan Nott in an all-Dvořák programme.Dvořák's Cello Concerto in B minor is his final large-scale orchestral canvas, and justly celebrated as one of his finest achievements.

It's about time. Certainly Chronochromie is about the colour of time, but grasping the essence of much of Messiaen's music depends on being in synchrony with his take on time in music – specifically intimations of the eternal.