シュトゥットガルト放送交響楽団
Norrington is best known for historically informed performances of Baroque, Classical and Romantic music. He is a member of the historically informed performance movement. Norrington has advocated a limited or no use of vibrato in orchestral performances, which has brought him both positive and adverse criticism. He has strictly followed Beethoven's original metronome markings in his symphonies, despite critical comment that these markings were "miscalculated". He has conducted recordings of Haydn, Mozart, Beethoven, Schubert, Berlioz, Brahms, Tchaikovsky, Dvorak, Bruckner, and Mahler on period and modern instruments. In particular, Norrington makes very sparse use of the vibrato, often uses very fast tempos, and varies the placement of the instruments on stage. Especially with the Stuttgart Radio Symphony Orchestra Norrington has developed a very individual sound, which is often dubbed by the trade press as "Stuttgart Sound". This refers to the synthesis of historically informed music making with the means of a modern and flexible orchestra. Symphonic cycles which Norrington interpreted in recent years with the Stuttgart Radio Symphony Orchestra have received worldwide acclaim. However, Norrington's performance practice is not without critics among other musicians; for example, the violist of the Melos Quartet, Hermann Voss, drew two tough caricatures to Norrington's vibrato-free string sound in 2005, adding: "Except for the Stuttgart Feuilleton, the "New Stuttgart Style" finds only contempt and scorn."