Audience in LSO St Luke's

Audience in LSO St Luke's

Your Reviews: Spring/Summer 2012

Gergiev/Fleming - 2011/12 Season Finale, Sun 15 Jul

Tim Moorey
I’m inspired to write to thank the LSO players for a great performance last night. Yes, Rene Fleming sang beautifully as usual but I would like to focus on La Mer. We have had this piece from Mr Gergiev several times and by the fine, detailed attention he gave, he clearly deeply respects this score.

The orchestral response on this occasion was sensational, the whole band playing at the peak of their powers. The woodwind and strings were especially memorable and I would like to mention (perhaps somewhat unusually) the exquisitely delicate cymbal playing of David Jackson. He deserved a “stand-up” at the end, but so did many others.

UBS Soundscapes: Eclectica Conexions, Tue 10 Jul

Dorothy Thomas
It was so nice in Eclectica's performance on 10 July for the viola to have a chance to show what it can do. Garth Knox's strumming on one of the orchestra's most unlikely instruments - among the most stunning and colourful parts of the evening - really got the audience engaged, while the rest of the programme, with its fascinating sounds and effects, was an all-enveloping experience which took the watcher - for the sounds were almost visual - to the overwhelming¸ elemental world of coastal Norway with the wind, the rain, the snow and the stone - lots of it - where man, dwarfed by the huge mountains and the endlessly powerful sea, is an insignificant speck on the landscape.

Karl Seglem's poems, expanded and interpreted by Christian Wallumrød's mini-keyboard with bellows and Knox's eerie sounds on the viola, were very effective evocations of the sounds of nature, though possibly less so if one did not know the language (a bigger glossary might have helped). However there were no such problems with the colourful lullaby Sulla Lulla, which had all the audience nodding sleepily along.

Seglem's 'straight' instrument is the saxophone, which is clearly used to encourage even more wind in Norway. He then used his hands to wow a goat's horn almost like a mouthorgan, and flutter tongued a narrower, antelope's horn to great effect, though no doubt both animals would be startled at the new uses to which they found themselves put. St Luke's was a particularly good venue for a concert of this kind, especially in summer when the outside world almost seems to come in as one listens.

City of London Festival 2012: Berlioz Requiem, Mon 25 & Tue 26 Jun

Susi Woodhouse
I simply wanted to congratulate Sir Colin and the LSO on yesterday's Berlioz at St. Paul's. What a wonderful occasion - thank you all so much.

LSO Discovery Family Concert: Classical Champions, Sun 24 Jun

Andrew Leitch
Thank you for a wonderful experience! My son and I both had a fantastic time - the LSO were of course fabulous and entered into the spirit very well, but hats off to Rachel Leach: she kept her young audience''s rapt attention without dampening spirits and very engagingly got some musical education through too. Well done! Please pass my comments on to her. Thank you again.

Marianne Baker
I just wanted to say how much we enjoyed the concert on Sunday.  This was our children's first experience of a classical concert and they loved it and want to come to more.  My son has just started playing trombone and was particularly excited about the audience participation (and I have to say played brilliantly on the day after weeks of learning and practising the piece!).  We loved the workshops beforehand and my daughter tried out all the other instruments on offer and has now decided she would like to learn the flute.  So all in all, it fulfilled our and exceeded our requirements as we had hoped to encourage their love of music and let them see how it can be applied more practically than just it being endless scales and parents moaning at them to practice!!  My son has asked to join an orchestra or band of some sort when he is a bit better on the trombone and next time he comes to a concert he really wants to meet some of the members of the orchestra if possible and get their autographs.  He particularly loved the Star Wars theme music.

So thank you very much LSO. We hope to see you again soon.

Susan Keeling
I came to the Family concert on 24 June with my two children aged 5 and 7. Beforehand I did the family workshops with the 7 year old. I thought it was all absolutely fantastic.

Both workshops, the art/craft and the improvisation, were great fun and wonderfully well-run.

We didn't download the music in advance (only one child plays an instrument and he's only just started), and we didn't bring instruments with us, but we joined in the 'learn the song' workshop in the foyer beforehand which was very useful.

The concert itself was great. Just the right length, and just the right mixture of music. Wonderfully presented. We were sitting way up in the balcony but the screens meant we didn't miss the detail.

This is the third LSO family concert I've been to (3 in a row) and each time I've brought an additional member of the family and done an extra activity. For the next one, we're ALL going to do EVERYTHING and we'll bring my son's guitar too. 

This is a fantastic day out for all the family: we went home weary and happy, clutching medals/ flags / torches / trophies etc.

Thank you!

Wen Sanchez
It is the first time that we attend a concert like this, full of wonderful energy coming from the kids! Even though we do not have kids of our own, we really enjoyed participating in the activities and the awesome music played. We would like to receive information regarding further events like this.


Kim Tuffley
My 7 year old daughter and I had seen the concert previously when we attended a school trip on 11th June, she liked it so much as soon as it had finished she asked whether she could see it again.  I came home and looked on the internet and found out that the concert was going to be on again on the 24th June and my daughter attended with my husband.  This time she brought her clarinet along, she had looked at the music on your internet site and had learnt her part.  They attended the workshop before the concert and found the whole experience brilliant.  She was so excited to tell her friends and teacher that she had played with the LSO.

We have booked to come to the family concert in October and hopefully will attend more events at the Barbican.  I thought it was fantastically organised and such a brilliant opportunity for kids that age to get involved.

Ranya Tenembaum
Thoroughly enjoyed the concert. I now have 2 little musicians in the making. Thank you for a wonderful experience.

Bijay Palriwala
It was a fantastic show ! My seating was also perfect and I look forward eagerly to the next performance.

Noseda/Denoke Wagner/Berg/Beethoven, Thu 21 Jun 2012

Catherine Morand
Wonderfull LSO concert with Gianandrea NOSEDA and the Orchestra. THANK YOU from Paris, France

Chris Hallam
This was a last minute buy as my mother was visiting and she had never been to the barbican. She dreaded the Berg but in the end loved it and was in tears at the end of the 5th. 

It was inspired, energised and a surprise. Bearing in mind it was probably one of the few classical albums we had when young I thought I had heard it a hundred times, but we both felt we heard it for the first time at the barbican.

A surprising and great night out.

Haitink/João Pires - Purcell/Mozart/Schubert/Bruckner,  Sun 10 & Thu 14 Jun 2012

Stephen Jay-Taylor
I’ve been going to concerts (mainly) in London for nigh-on forty years, certainly well before the Barbican even existed and the LSO merely jostled with four other orchestras – LPO, RPO, BBCSO and Philharmonia – for space in the Royal Festival Hall. In that time I’ve heard thousands of performances and umpteen dozens of Bruckner 7s – slow ones, fast ones, dull ones, weird ones, dreadful ones, good ones - the most recent of which was only back in April (Barenboim and his Berlin band). But I have never heard a performance to match that of the LSO under Haitink, given at the Barbican on 14th June.
The real surprise was the sense of urgency imparted to a score tracts of which can often hang fire and sound oddly directionless. But the general briskness of tempi in the outer allegros was never achieved at the expense of either due symphonic weight or narrative coherence (certainly not something you could say of Barenboim’s performance): and, more importantly, the Adagio was conducted (and played) at a level of structural grip and emotional force that knocked me sideways. The whole thing seemed so vibrantly alive, and yet perfectly natural and spontaneous-sounding in a way that I found revelatory, something not especially evident even on Haitink’s relatively recent Chicago SO live recording (the orchestral playing of which, though predictably resplendent and fatly sonorous, is still in no way superior to the remarkable echt-Brucknerian melos which the LSO conjured up on Thursday).
That Haitink should have produced an equally glorious Schubert 9 with the LSO only the week before – a work that defeats more bands and high-powered maestri than any other – seems to me a testimony to the conductor’s not just ongoing but actually ever-increasing grasp of symphonic structures, the mysterious art that conceals art, and one which indeed seems almost artless in a way. This is the skill and wisdom imparted by long experience, which ultimately allows you to get out of your own way in the matter of expressing the music of others. It’s a kind of self-less learning that overcomes the ego – look at me emoting! listen to what marvels of manipulation I’m achieving! – in which so very many other conductors willy-nilly, consciously or not, indulge. Nearing his mid-eighties, Haitink is truly turning into a legend before our very ears, with the whole-hearted support and co-operation of the LSO. I count is as a rare privilege to have attended these two concerts: and I trust there will be many more in future as a significant birthday for the conductor approaches. 

Peter Ludbrook
We are extraordinarily lucky to have Bernard Haitink conducting so regularly in London. Only a few months ago it was Bruckner's 5th with the Concertgebouw and at this concert it was Bruckner's 7th. He is surely one of the great conductors of our time. The characteristic that most strikes me about him is his integrity. I can't think of an occasion when he's sought his own glory at the expense of the music. Truth to tell he always looks a little embarrased at the acclaim he gets from both players and audiences yet it's an acclaim he richly deserves.

In the event this turned out to be an exceptional concert. The Steven Stucky arrangement of Purcell's 'Funeral Music for Queen Mary' was an imaginative and powerful transcription played very powerfully by the wind, brass and percussion of the LSO.

I had never heard Maria Joao Pires live before and her performance of Mozart's 23rd Piano Concerto was a delight. The slow movement was particularly beautiful and the reduced LSO forces accompanied very attentively.

Haitink conducting Bruckner has been a constant through decades of concert going. I recall that the first time I heard him conduct the Concertgebouw Orchestra it was in Bruckner's 9th at a 1967 Prom. This performance of the 7th was superb. The pulse seemed slightly swifter than I'd heard him adopt in the past but it all hung together coherently. From the beautiful opening of the symphony to its triumphant peroration this was a performance to treasure and I'm looking forward to the Bruckner 9th he'll be conducting in February. 

Stephen Fleet
The mozart was lovely,intimate and communicating to the audience about the music rather than proclaiming the pyrotechnical skills of the player as  some younger and less feeling practitioners can do. 

Richard Greenwood
We enjoyed last nights concert at the Barbican very much. It is wonderful to see Haitink still in great form.

Kathryn Tickell: Northumbrian Voices - Tue 12 Jun 2012

Stuart Marshall
enjoyed the Northumbria concert on wed eve - nice music and anecdotes/poetry - well done!!

Michael Tilson Thomas - Sun 27, Fri 31 May & Sun 3 June 2012

Ryan Hepburn
I'm really not one for posting comments about concerts, but I just wanted to express how stunning the orchestra sounded with Michael Tilson Thomas in their focus on Mahler. 

I was just a bit too young to catch MTT and the LSO properly when he was Principal Conductor (I think the closest I got to seeing him in that role was during a Stravinsky festival he put together in the late '90s, soon after he had relocated to San Francisco), but I have seen him with the orchestra a number of times since then and am always amazed -and genuinely thrilled - by what he and the LSO achieve together on (presumably) fairly little rehearsal. 

These past few concerts dedicated to Mahler have been absolutely no exception, their interpretation of the Fifth Symphony being one of the most intriguing I think many people have heard.  True, not everything was necessarily to everyone's tastes, but the reading was so strong and so conscientiously delivered by both conductor and orchestra that you couldn't help but admire the conviction of MTT's insights and beliefs.  In short, while other conductors certainly achieve fantastic things with the LSO, MTT seems to have that ability to create a kind of theatre and entertainment in the concert hall that is not only exciting, but always thought-provoking and always supplemented by that palpable and infectious sense of Californian whimsy that's such a welcome addition to London's music-making scene when he's in town. 

Thanks so much for a series of stunning concerts.

Peter Ludbrook
It was good to see MTT back at the helm of his old orchestra and the audience's enthusiasm was clearly shared by the orchestra. The performance of Mozart's Violin Concerto No 5 by Gil Shahan was very fine and the accompaniment by very reduced forces was very elegant.I heard MTT conduct a lot of Mahler with the LSO when he was their Principal Conductor and my expectations were high. I was not disappointed. The performance of Mahler's Symphony No 5 was all one could ask for with both orchestra and conductor on blazing form. Superlative playing in all departments coupled with MTT's firm grip on the whole work ensured that this was one of the finest Mahler Fifth's I've ever heard. I wish now that I'd gone to the other Mahler symphonies Tilson Thomas conducted with the LSO on this visit  as I see they got first class reviews. Next time perhaps?

Caroline Tate
Total magic from the first note till the last.  I had wanted to write a letter to Michael Tilson Thomas and the LSO to thank them for giving us an outstanding evening.

His obvious passion for the music was obvious and I found his conducting so clearly illustrative of what is 'behind' this glorious symphony, the huge range of emotions, the exquisite lyricism, the triumphant voice of the instruments..........................brilliant.

Every player contributed to some heart rending passages, which brought tears to my eyes, especially the closing bars which held us all suspended in the shimmering world of Gustav Mahler.

I am passionate about Mahler, go to all London Mahler concerts, and as an artist I have 'painted' over 70 paintings of his music!  This performance was by far the best I have ever ever heard of Mahler's First Symphony.  Please give my very very great thanks to everyone for giving us all an experience to be treasured forever.

Giorgia Maccaferri
I've been to the LSO concert with conductor Michael Tilson on Sunday 27. It was the best way for me to approach to what we call "Sublime", I saw the power of the music conveyed in each breath of the players.

LSO Chamber Orchestra/Stravinsky Festival, LSO St Luke’s - Thu 17 May 2012

Selena Lemalu
This programme was like taking a guided tour of a beautifully-curated exhibition of an iconic figure’s work but from an unusual perspective.  Instead of wandering from room to room taking in images, rich soundscapes materialised in the space before us, through the artistry of the LSO chamber ensemble.  Most exciting to get an insight into Stravinsky's creative process and his influence on the development of jazz music.  Truly an evening that did 'surprise and inspire'.

Gergiev's Stravinsky Festival Fri 11 May 2012

Maria Lidia Neghme
I was impressed with the high quality of LSO. Gergiev in the concert of may 11 gave us a dionysiac version of The Firebird. The sound of the orchestra was intense. The audience could thought - " what a great concert I am attending; wonderful sound. "I live in São Paulo, Brazil. Whenever I could I would like to hear the orchestra again.

Debussy/Szymanowski/Scriabin/Eotvos - Sun 29 Apr 2012

Matthew Cocker
Terrific concert on 29th April 2012 at the Barbican, courtesy of the L.S.O & Chorus (women only) under the direction of Peter Eotvos, with violin soloist, Christian Tetzlaff.

First up was Debussy’s ‘Nocturnes,’ three beautifully-wrought sound pictures inspired by the impressionist paintings of the same name, by Whistler. Each of the movements was finely judged, with perhaps Fêtes proving the stand-out, it’s glittering, dancing outer sections flanking a viscerally thrilling central procession which really did convey the notion of a dazzling, fantastic vision. But both the opening Nuages and final Sirènes – with a finely tuned cameo from the ladies of the L.S.O chorus - were expertly delivered as well and the performance as a whole really made you appreciate the wonderful subtleties of Debussy’s skillful orchestration.

Next up was Szymanowski’s 1st Violin Concerto, an extraordinary composition which, I’m delighted to say, has been working its way into mainstream concert repertoire of late. Composed in 1916, it’s a single movement work of beguiling, exotic, other-worldly beauty quite unlike any other. Christian Tetzlaff made light of the fiendishly difficult solo part and it was clear from the outset that he was going to take a fiery approach to the piece, whilst still reveling in the frequent ethereal moments that drifted hazily in the musical stratosphere. The L.S.O under Eotvos gave him delicious support, vividly bringing to life the full array of shimmering colours and textures in the score and proving gloriously overwhelming in their opulent final tutti section following the brief cadenza. And if Tezlaff’s performance couldn’t quite efface memories of that of the incredible Wanda Wilkomirska, who was so at home with the concerto she made it sound improvised, it was none-the-less a glorious achievement. Both he and the orchestra were mightily applauded at the end – and rightly so. Unfortunately, a slightly dodgy stomach meant that I had to flee the auditorium at this point, so I missed Tetzlaff’s encore; but at least I went out on a high.

Concluding proceedings after the interval was Scriabin’s wonderfully OTT Poem of Ecstasy. Scored for huge orchestral forces, the work is made up of relentlessly-shifting motivic cells which cross-pollinate and segue sinuously into each other, creating a cloud of tonally ambiguous chromaticism which, from delicate beginnings, builds to an absolutely shattering climax. Keeping a hold of this seemingly amorphous musical behemoth and the enormous orchestra is a challenge for any conductor, so I’m not being overly critical when I say that Mr Eotvos didn’t quite succeed in bringing it off. The whole thing didn’t feel as organic as it ideally should and there were a few sections where the music would’ve benefitted from being allowed to breathe a bit more - such as the soaring recurring trumpet theme, which felt just a little hasty (although I’m sure it didn’t feel that way to the outstanding players!) – but these are very minor caveats and, overall, it was a suitably spectacular way to end a splendid night of music making and the L.S.O really gave it their all. Bravo to all involved.

N.B: It was also extremely encouraging to see the Barbican hall almost completely sold-out for a concert programme which would’ve been considered, not so long ago, one to frighten the horses.

Weber Der Freischütz - Thu 19 & Sat 21 Apr 2012

Ross Tulloch
This is not a review, just to say that yet again I have been overwhelmed with the brilliance of your orchestra, on my latest visit, and performance of the opera under Davis. Thank you so much all of you for such stupendous artistry and perfection. I always find concert performances of operas superb.

You all worked so hard, and I so appreciate all you do to make every visit to the Barbican such a joy

Jean Taylor
I'm short of time so haven't yet read the reviews but, in brief, it was magic and Kaspar was, as one critic put it, truly dastardly.  Unfortunately, although I had an otherwise excellent seat in the centre of Row H, the surtitles were bisected by Sir Colin's head!

David Valentine
Sir Colin does it again !!
a wonderful night at the Barbican
an amazing, rarely heard work, with
a superb cast, choir and Orchestra
Lars Woldt's performance at short
notice was memorable.
Great Stuff LSO

Tim J Moorey
Apart from parts of the overture (which sounded more like a timpani concerto), I thoroughly enjoyed another wonderful LSO  evening. Especially memorable were the LSO chorus on great form and Sir Colin's grip throughout a longer than usual concert. Let's have some rarely heard operas in concert performance please.

Bychkov/Stotijn/Tiffin Boys' Choir/Ladies of the London Symphony Chorus Mahler, Sun 1 Apr 2012

Pål Kristensen
Nice concert today, horn section fantastic, 1st trumpet outstanding. Love this orchestra. Ladies in the back of the 1st violins should try to smile to the audience after the concert.

Frühbeck de Burgos/Ibragimova - Glinka/Mendelssohn/Rimsky-Korsakov, 25 Mar 2012

Steven Isle
We thought the Scheherazade was sumptuous and the soloists wonderful. As an amateur cellist I particularly enjoyed tht part. Alina was great considering she was dragged in off the street. I could tell she'd played it before. Joking - no, I thought there was incredible feeling in her interpretation and it is of course a very demanding piece in terms of technique and stamina. Congratulations to them all!

Gillian and Paul Gee
Ibragimova is a superb violinist. She was always good, but has improved greatly since we last saw her quite some time ago. She certainly surpassed the vast majority of other violinists, and moved us greatly (this doesn't happen often...)

We have rarely heard anyone play so expressively both musically and otherwise.

The orchestra was, as ever, superbly led by the wonderful Carmine Lauri.

Can we see Ibragimova again, please, without a long wait?

Ticciati/Maltman Strauss/Mahler/Brahms -15 Mar 2012

Jennie Sapsford
I found the first part of this concert deeply moving. The juxtaposition of  the Strauss with Mahler's Songs was demanding for musicians and audience alike, I think. Christopher Maltman's singing was superb.

To hear and witness this great orchestra playing Brahms 2 was awe -inspiring. I am sure the musicians could play this in their sleep! Thank you LSO for a wonderful evening of music.

Lien Guidon
My concert going dates back to my student days in Paris. Later in life, in London or in Paris, I either choose a concert because of the musician, or because of the composer. Last week I was just thrilled to bits. It was a wonderful experience as it was the first time I heard the LSO. I found the orchestra vibrant, with a brass section particularly colourful and the wind section intense. As far as I could see, Robin Ticciati was passionately conducting every musician with his baton and seeming to pull invisible strings to which they responded brilliantly.

Gergiev/Chang - Britten/Shostakovich/Tchaikovsky, 23 Feb 2012

John Miller
Just want to say what a fabulous concert last night with the fantastic Orchestra, Valery Gergiev and Sarah Chang. I re-found Tchaikovsky and watched Sarah with amazement, such technic. Glorious sound, thoroughly enjoyable and completely up lifting.

Louis Cross
Sarah Chang brought the house down. Cheers, 'Bravo's and even some audience members standing. All were well deserved. She performed Shostakovich's Violin Concerto No.1 with such drama, passion and technique. For those who ask themselves 'What's the hardest violin concerto?' The Shostakovich is definitely up there. Movements 2 and 4 were relentless for the soloist, giving her little time to mop her, understandably, moist brow; the heat added by a custom-made, dazzling emerald sequin dress which, Sarah told a few of us backstage, she only received the day before!

The LSO itself was truly on form; together, energetic and uniform. The woodwind section particularly stood out, with the bassoon solos and flute-heavy passages. Having not seen the LSO perform before, I was surprised at their European layout (lower strings next to and behind the firsts, with violas and seconds on the right), but it didn't depreciate the sound they made.

Gergiev, however, was another kettle of fish! Having read raving reviews about his conducting as well as knowing about his awards etc., my expectations going in were high. He didn't meet them. His conducting style is that of a wounded bird with a tick. His arms stay close to his body with just his hands moving; the right of which twitches constantly. If this wasn't distressing enough to see, we then had to sit through him making noises. Loud wet exhalations which, somehow, carried throughout the Barbican. Distracting strangled sounds coming from his throat made it seem sometimes like an off-key singer was 'Aaah'ing' the melodies somewhere. His lack of familiarity with the programme in the first half was made evident by his reluctance to look up from the score and to engage with the orchestra. It was only in the second half with Tchaikovsky's Symphony No.6 that we saw how comfortable (yet no less twitchy or loud) he can be as a conductor.

Gergiev/Matsuev Tchaikovsky/Prokofiev/Shostakovich - 21 Feb 2012

Catherine Blackmore
Dear Valery Gergiev, the LSO, Denis Matsuev and all involved, I’d like to congratulate you all on the concert last night. Not only were the performances of Prokofiev’s 3rd piano concerto, and Shostakovich 5th Sympathy magnificent - the tension building 3rd movement breathtaking, but that of Tchaikovsky’s Overture for Romeo and Juliet was a revelation.  Rid of all cliché or received knowledge/hearing from its ubiquity it became a powerful, moving and at times even sinister work - splendid stuff - thank you so much.

Sarah Dixon
I was feeling quite ill on the day and so it was an effort to get from Maidenhead to the Barbican. It was only because my brother was coming up from Stroud to hear the concert with me that I made that effort and boy, was it worth it. The orchestra was on top form and Denis Matsuev's performance was mesmerising. Afterwards we remarked that this was one of the best concerts we've ever attended, and we've been coming to see the LSO two or three times a year for about the last ten years. Congratulations all round.

Järvi/Daniels Adams/Copland/Bernstein/Ellington/Milhaud - 9 Feb 2012

Andy Skinner and Pat Griggs
A Big Thank You! We really enjoyed the jazz-inspired concert last night (9 Feb) at the Barbican. It is so good to see/hear such an original programme, that is both very interesting and thoroughly entertaining! Good to get away from the traditional classical fare every so often. Seeing these pieces – which we already know well, and love, from recordings – in live performances gives them a whole new dimension. How fascinating the smaller ensemble for ‘Creation du Monde’ is, for example - and how amazing the huge forces for ‘Harlem’ and ‘on the Town’. Eddie Daniels was splendid too – whether in Copland, Bernstein or ‘Berkeley Square’!

And the programme advertisement has led us to the LSO St Luke’s Website for the Stravinsky Jazz Evening in May. St Luke’s is somewhere we have yet to go to…

Mike Williams
I would just like to let you know that I have updated my Facebook status to:

"Kristjan Jarvi (conductor) & Eddie Daniels (clarinet) & LSO @ Barbican last night: Bernstein, Copland, and Ellington. The best orchestral concert I have ever been to."

Ben Hull
I enjoyed the Eddie Daniels concert last night but I was surprised by a poor arrangement of Bernstein's Prelude Fugue and Riffs. The opening statement sounded feeble and robbed of all it's impact on strings. The fugue lacked the tone colours a saxophone section is able to produce. Why employ a world class saxophone section for Harlem and not use them for the Bernstein?

The program notes made no mention of the arrangement and even commenented on the saxophone parts.

I love the Prelude Fugue and Riffs and the chance to hear it played by Eddie Daniels was amazing but I am surprised that the LSO choose a poor arrangement over the real thing.

Tilson Thomas/Von Otter Debussy/Weill - 2 Feb 2012

Alfred Bradley
I loved the programme. The contrast of the shifting world that Debussy creates and the harsh, hard world of Weil was really interesting. I'll be honest; I'm not the greatest Debussy fan kin the World, but M.T.T. whipped up a storm in 'La Mer'. I was totally involved. The L.S.O. on glittering form. You sense a real bond with this conductor. Anne- Sophie Von Otter got it just right. Hot and cold together..
A really thought provoking evening. Thankyou.

Pappano/Tamestit - Adès/Walton/Elgar, 9 January (Warwick) & 10 January (Barbican) 2012

Roger Dodd
I also would like to say that I went to see the London Symphony Orchestra at the Warwick art centre on the 09/01/12 EXCELLENT, I am a double bass player and were I was sitting just above the basses was fantastic I went home feeling really pleased and happy

Angela Finch
The performance of Elgar’s First Symphony was spine-tingling and worthy in every way of the five star review in The Times. Thank you so much for giving us a very special shared memory.

Alan Whitworth
I have just listened for the second time to Sir Antonio Pappano and the LSO's recent broadcast from the Barbican of Elgar 1, and must say I was utterly transported. Lyrical passages of luminous intensity which I had simply missed before, particularly in the second movement; Sir Antonio really made them sing!

Hard to believe he only conducted this work for the first time in Warwick this week. So PLEASE can we have a recording of Elgar 1 by Pappano and the LSO in the near future. I for one would love to hear what insights he and the LSO could bring to the wonderful slow movement of Elgar 2; how about including the second symphony in a future concert?

Mind Unit - websites, content management and email marketing for the arts