After 14 years as principal conductor, Vasily Petrenko has left the Royal Liverpool Philharmonic Orchestra in top-league shape. The players must be as thrilled as we are that his successor, Venezuelan Armenian Domingo Hindoyan, carries the flame, catches the spark, call it what you will, with a distinct personality of his own, combining clariy and elegance in baton-wielding with a very watchable physical freedom.

It probably goes without saying that there will be "dream teams" in a football-mad city like Liverpool. What might be a little unusual is that this particular one has long been associated with the Liverpool Philharmonic and has turned into one of the most potent marketing forces for the organisation for many a long year. It has nothing to do with the "beautiful game", though.

Even seemingly immortal singers grow old. Sir Bryn is closer to the "Martinmas summer" of Shakespeare's and Verdi's Sir John than when first he put on the fat suit at the Royal Opera 18 years ago. Even if he walks the gouty walk that matches the belly, vocally he seems richer than ever.

The new season at the Royal Liverpool Philharmonic is focusing on revolutionaries. Bach, Beethoven and Berlioz all feature strongly over the next few months, as will Stravinsky and – where else but Liverpool? – The Beatles.

He still looks every inch the golden boy, but Vasily Petrenko has just turned 40, and next month celebrates a decade with the Royal Liverpool Philharmonic. Time well spent, as this impressive evening revealed: after years of Russian immersion under his crisp command, here’s a band who can conjure Shostakovich’s smoudering darkness, and all the glitter and the grit in Rachmaninov’s third symphony.

James MacMillan: Since it was the day of Preparation Hebrides Ensemble/William Conway, with Brindley Sherratt (bass), Synergy Vocals (Delphian)

Kenneth Hesketh: horae (pro clara) Clare Hammond (piano) (BIS)

Why play a very substantial act of ballet music in concert? In the case of Aurora’s wedding entertainment from Tchaikovsky’s The Sleeping Beauty, there are at least three good reasons. It embraces the most inventive and unorthodox of divertissements in any ballet – the one in The Nutcracker comes a close second – and a symphony orchestra deserves the chance to perform at least a substantial chunk of what Stravinsky called Tchaikovsky’s chef d’oeuvre.

Four years ago, Vasily Petrenko and the Royal Liverpool Philharmonic embarked on a two-year project to play all the Mahler symphonic works over a couple of seasons. It was an ambitious project but it was one which, then, had hall staff dusting down the House Full signs and the queues for returns forming well before the first note was due to played.

Alessandro Scarlatti: Con eco d'amore – Arias from operas and cantatas Elizabeth Watts (soprano), The English Concert/Laurence Cummings (director and continuo) (Harmonia Mundi)