Samoan choreographer Lemi Ponifasio’s chant-filled music-theatre piece – performed by Theatre of Kiribati and Britten Sinfonia – pushes Mahler into uncharted waters

Conducting without a score, Kahchun Wong beguiled as he maintained ultraprecise coordination and built to a powerful, cosmic-scale finale

The joy and anarchy of Mahler were brilliantly captured, alongside wild Shostakovich and mellow Brahms

Ranging across metaphysics, comedy, grief and love, Mahler’s songs for voice and piano are works of exquisite delicacy that offer fascinating glimpses into his grand symphonic works, writes pianist Julius Drake

Simon Rattle and the BRSO’s account of Mahler’s tricky seventh symphony is direct and vivid.

Bridgewater Hall, Manchester
New principal conductor Kahchun Wong held the balance between restraint and muscle and, with soloists Sarah Connolly and Masabane Cecilia Rangwanasha, made this ‘Resurrection’ unforgettable

Claire Cunningham’s affecting solo performance is a meditation on how we find our way along unexpected paths

Beautiful wind playing in a slow-burning Brahms joined searing strings in Schoenberg and Alice Coote’s fine-grain singing of Mahler for a space-testing night

Three new films attempt to address the Holocaust. But can cinema ever hope to adequately confront humanity’s darkest chapter?

Heard in a less usual male-voice pairing and with a piano reduction of the full orchestral score, there are more gains than losses to be found here