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Kent Nagano, who stepped down as musical director of the Berkeley Symphony, returns, as conductor laureate, to lead the Berkeley Akademie on May 20. Here, he talks about his programming philosophy, working with Messaien and Frank Zappa, and entertaining at home — and home for Nagano always means California.

Performance standards were of their usual high order Sunday afternoon as Donato Cabrera conducted a concert of the San Francisco Symphony’s Youth Orchestra at Davies Symphony Hall. Even so, there were problems, notably with the programming, as well as with Cabrera’s concept of a classic warhorse.

Volti’s Friday concert at Berkeley’s First Congregational Church shared the stage with three outstanding high school choirs: Head-Royce’s Colla Voce, the Acalanes High School Chamber Singers, and Ecco, Piedmont East Bay Children’s Choir.

Cello concertos are where you find them. Visiting soloist Gary Hoffman found two excellent short pieces that work well in that role, though they aren’t called concertos, to play with Symphony Silicon Valley, under guest conductor Gregory Vajda, at San José’s California Theatre on Saturday.

How could I not lose myself completely in the wondrous beauty of baritone Eugene Brancoveanu’s voice during the first set of his Sunday afternoon, San Francisco Performances-sponsored recital?

Beethoven’s Ninth Symphony trumps everything. What else can hold its own on a program with this searching quest that leads to the most fervent final movement in music history? The Oakland East Bay Symphony, under Music Director Michael Morgan’s baton, offered a proposal at once modest and moving.

Gustavo Dudamel brings a cheering crowd to their feet with a predictable, but audience-effective rendition of Tchaikovsky’s Pathetique symphony, while Jean-Yves Thibaudet entertains with Leonard Bernstein’s The Age of Anxiety.

Patrons returning for the second half of Monday night’s Santa Rosa Symphony concert witnessed the unusual sight of five microphones: one to the left of the conductor’s podium, and four to the right. These peculiar forces and accoutrements had been assembled by Music Director Bruno Ferrandis for Kurt Weill’s Seven Deadly Sins.