Amanda Majeski pushed the boundaries as Janáček's tormented heroine for director Richard Jones at the Royal Opera. Here there were confines – no “concert staging” this, but a laissez-faire affair with scores and music stands, occasionally obscuring the stage directions – but she still conveyed the essence in front of Simon Rattle’s throbbing, luminous London Symphony Orchestra and flanked by other cast members of uniform excellence.

In a Renaissance artist’s studio, a wannabe master proved his skill by drawing a perfect circle. Perhaps playing Beethoven’s A minor Bagatelle (aka “Für Elise”) as an encore should count as the pianist’s equivalent. At the Barbican last night, Alice Sara Ott did just that with the ubiquitous ring-tone earworm.

Long goodbyes don’t get grander, warmer or more passionate than this. Sir Simon Rattle began his farewell season with the London Symphony Orchestra with a Proms performance of Mahler’s Second, “Resurrection” Symphony – the mighty work that has waymarked the major moves of his career.

If you sought a spectacular shrugging-off of jubileemania last night, you could have done no better than this programme to coincide with Italian Republic Day from our own national treasures Antonio Pappano – Knight of the British Empire, if you’ll pardon the expression – and the London Symphony Orchestra.

Conductor and pianist came at Liszt from opposite directions last night. Michael Tilson Thomas is a venerable presence at the podium and has been Laureate Conductor of the London Symphony for decades. Their relationship speaks of deep empathy and close communication. In the Liszt First Piano Concerto, MTT dug deep into the rich string tone of the LSO for round, warm sonorities, and always with plenty of bass.  

As Walter Huston croaked in 1938, it’s a long, long while from May to December. And Kurt Weill – who wrote his evergreen “September Song” for Huston in that year – spanned several musical epochs within not so many years as he travelled from the Weimar avant-garde to Hollywood and Broadway.

Xian Zhang is clearly a versatile conductor. In this concert, with the London Symphony Orchestra, she presented a fascinating strings work by Chinese composer Qigang Chen and a new trombone concerto by Dani Howard, all framed with favourites from Ravel and Stravinsky.

Had he never written a note of his own, George Walker would still have left a record of trailblazing achievements. Born in Washington DC in 1922, he studied piano at Oberlin College and the Curtis Institute (the conservatoire that notoriously rejected Nina Simone). He was taught by Rudolf Serkin and, in 1945, debuted as a soloist first at the New York Town Hall and then, playing Rachmaninov’s third concerto, with the Philadelphia Orchestra under Eugene Ormandy.

There's something really moving about standing in the centre of London Wall's Roman ruins and looking up at the city that has grown around it. Thinking about our past, present and future simultaneously. More than 2000 years have passed since the Romans created our city, and while much has changed there's still so much consistency in how our society exists, both the beauty and the flaws. As a civilisation, how far have things really shifted?

“Take Jazz Seriously,” wrote Maurice Ravel after his American trip in 1928. This past week of the 2021 EFG London Jazz Festival has seen that advice itself being taken seriously, with a bunching of projects and premieres. Jazz musicians have been welcomed in to work with London orchestras. The fruition of months of preparatory work has been on show.