Several features this month represent the broad mix of how we cover classical music, which itself is based on the wide variety of what the recording industry offers to those who love our art form. For our cover story James Jolly travelled to Atlanta to report on the impressive new chapter in the acclaimed career of Nathalie Stutzmann. An admired contralto, one who first appeared in our pages back in 1986, in more recent years she has been attracting praise as a conductor. Initially this was with her own group, Orfeo 55, but Stutzmann has since held posts with ensembles including the Philadelphia Orchestra and, most significantly, the Atlanta Symphony, where she is now Music Director. How does such in-depth experience of one aspect of music making – singing, in this instance – contribute to another one, namely conducting? It’s a path trodden by many instrumentalists, from Daniel Barenboim to Joshua Bell, but one perhaps less taken by singers, at least outside of choral ensembles. Meeting Stutzmann, watching her perform and talking to people who work with her, James offers a fascinating insight into a highly distinctive musician (and one whose new recording of music by Dvořák is reviewed this issue).

Over 35 years, the NMC label has built a magnificent tradition of championing contemporary British composers, creating a catalogue that has chronicled the creativity of an era and drawn valuable attention to composers through allowing their music to be heard far more widely than would otherwise be possible. It has preserved performances, many months in preparation, which would have remained one-off occasions and yet now stand out as landmark recordings. Last month I attended a concert marking their anniversary, and the huge variety of composers on the programme – and, delightfully, in the audience – was the best possible reflection of what they’ve achieved. But this month NMC celebrates a figure from the past, one whose inspirational legacy lies behind the label itself: Imogen Holst. A figure whose name is so linked to that of her father and to Benjamin Britten, with whom she worked with such dedication, it’s wonderful that NMC is marking its anniversary by shining a spotlight on her own music. Richard Bratby attended the sessions to learn more about this remarkable woman – and indeed this remarkable organisation.

If one label has captured the best of 35 years of British composers, the industry’s history as a whole has captured the best of a century of singers. We asked Mark Pullinger to mark 100 years since the death of Puccini by selecting ten singers who have most memorably brought the composer’s heroes and heroines to life for us. It’s a chronicle of an evolving art form and an excellent starting point for an operatic playlist – and indeed for a discussion about who you might have included in your own list.

And finally, speaking of excellence on record, this is the very criteria by which we’ve chosen our six contenders for this year’s Orchestra of the Year award. You can explore the shortlist on page 8 – and we’d be delighted if you then visit our website to cast your vote!