He is a thoughtful interpreter, with fresh ideas and a fluid yet focused technique, and as he demonstrated in concerts with his Bamberg ensemble he can confound expectations, even in programs that rest heavily on the commonplace. Mr Nott opened the Sunday program with Webern's Five Pieces for Orchestra (1913), a set of idea-packed vignettes etched in delicate strokes and rapidly changing colours. The reading unfolded with startling efficiency, moving briskly through a cycle of aural imagery, from warm-hued suppleness to mechanistic precision, mysteriousness and sparkling fragility. Allan Kozinn, The New York Times

If there is a silver lining to Pierre Boulez's bowing out of his concerts with the Chicago Symphony Orchestra, it is for the chance to give audiences to hear the CSO debuts of rising conductors of the younger generation - the British conductor Jonathan Nott. Nott took over Boulez's Schoenberg-Mahler program Thursday night at Symphony Center and served notice of an accomplished podium talent deserving of wider recognition...The sensitivity with which he brought out the rich-hued yet subtle scoring and autumnal melancholy of Mahler's 'Das Lied von der Erde' marked him as no ordinary Mahler interpreter. Nott proved that clarity and refinement of execution need not preclude warmth and directness of feeling in this valedictory song-symphony...He had one of the world's great Mahler orchestras responding as one player...Nott revealed things in Schoenberg's orchestral palette nobody this side of Boulez has conveyed so well. He deserves to be invited back, next time through the front door. John von Rhein, Chicago Tribune

This week a trusted younger colleague of Boulez, British Jonathan Nott, agreed to take up the heavy-duty combination of Schoenberg's 1942 Piano Concerto and Mahler's 1907-8 posthumously performed and published 'Das Lied von der Erde.' His major gesture here should earn him his own programming and concert week. Andrew Patner, Chicago Sun Times

Jonathan Nott, the British conductor who arrived as chief conductor of the Bamberg Symphony Orchestra in 2000 has effected a quiet musical revolution. Resisting glamorous guest conducting offers he has consistently raised the Bamberg SO to ever greater international prominence. That he and his orchestra have been chosen to perform the Ring at the elite Lucerne festival in 2013, Wagner year, is proof of his success...Somehow Nott manages to hurl himself from waist, head, torso into the body of the orchestra, precise with every cue but inspiring a fiery response, with warm strings and ardent woodwind...His ongoing Mahler series, available as live recordings, has won high praise. Last weekend it was the turn of the Sixth Symphony (1906)... Squeezing every ounce of emotion from the score, Nott placed the disputed Andante after rather than before the coruscating Scherzo, making its tragic, major-key simplicity all the more affecting. The work's total impact was shattering: the queue for coats afterwards appeared peopled by ghosts. Proms and Edinburgh appearances aside, Nott remains too little known here...Someone in the UK must snap him up soon. Fiona Maddocks, The Observer

Conductor Jonathan Nott and the orchestra's polished accompaniment was full of interest and activity...their lively tempos, alert rhythms, shapely phrasing and strong dynamic realized the symphony's [Schubert Symphony No.9] unique blend of elegance, joy, muscular strength and imposing majesty. Murray Black, The Australian

Nott continued to impress in the second half when he conducted Schubert's Great Ninth Symphony from memory - an impressive feat as it is about the same length as Mahler's fourth. This was an exciting and insightful performance with Nott keeping a tight control on pace and volume but still allowing the orchestra its head in the glorious singing lines. Steve Arther, MacArthur Chronicle

Jonathan Nott and his dedicated Bambergers delivered on Saturday a very special scrupulous examination of what made Ravel the composer he was. On their third visit to the Festival in recent years, these were players to arouse the greatest expectations. Although, for some people, what matters in Daphnis And Chloe is the closing scene, which forms the basis of a standard orchestral suite, the context of the rest of the work is essential if the music is to make its proper effect. This, and more, was what it was given. Nott is a master of musical structure who was clearly in his element. Conrad Wilson, Scottish Herald

After this outstanding performance, the Bamberger Symphoniker and their fabulous conductor is probably the world's finest Mahler orchestra. But it gets better! Jonathan Nott creates exactly what you need for a deeply moving interpretation of Mahler...Rarely has Mahler been more modern and the Bamberger Symphoniker play him with true authenticity, something which is unique...I can only strongly urge all Mahler fans to experience the outstanding Bamberger Symphoniker and their fabulous conductor Jonathan Nott...A fantastically successful concert – Absolute Bravo – Bravi – Bravissimo! Peter Bilsing

 Jonathan Nott, the current conductor in Bamberg was something quite extraordinary. He managed to convey ideas of historical performance practice with the late romantic sound of the Philharmonic in agreement. He did not imitate the original sound, but rendered the wonderful sound culture of the Philharmonic. Weitere Berichte, Salzburger Nachrichten

Conductor Jonathan Nott, in his Cleveland debut, keeps the orchestra taut and alert, while the horns make uniquely cohesive contributions. In the “Science” music, Nott crafts a gripping crescendo, beginning with eerie stillness and culminating in a writhing contrapuntal peak. Zachary Lewis, The Plain Dealer