Vaughan Williams & Britten – The Times ★★★★★

Under Antonio Pappano you could feel the ancient weight of flying buttresses and, in the pale sound of the distant nonet, sense the dance of dust motes in the light of clerestory windows. With fearless solo playing from every section of the orchestra, this performance was magnetic and disturbing.

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Vaughan Williams & Britten – The Guardian ★★★★★

Pappano’s way with the Tallis Fantasia, grand yet immediate, resulted in a performance of great dignity, sensuous and austere by turns, majestically played.

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Daphnis and Chloe – The Sunday Times

Quietly devastating in her meticulousness, [Chan] gave us marvellously paced and phrased accounts of Ravel’s Daphnis and Chloe Suite No 2 and — with the superb soloist Lukáš Vondráček — of Rachmaninoff’s Concerto No 3 (what a heart-warming, flaring tutti climax to the finale).

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Vaughan Williams & Britten – Bachtrack ★★★★★

The LSO strings responded with playing of sensitivity and beauty, from the first chord which seemed to emerge fully formed from the ether to the final richly flourishing cadence. Surely there isn’t a more perfectly balanced and rich string band in the country.

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Symphonic Gospel Spirit – The Spectator

The LSO, the London Adventist Chorale and a huge community choir dispensed pure joy.

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Vaughan Williams & Britten – The Arts Desk ★★★★★

Frang took us on an out-of-body journey, never overdoing the major-minor oscillations which can sometimes seem self-pitying. The partnership with Pappano and the orchestra was breathtaking, sometimes quite literally so.

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Daphnis and Chloe – Classical Source

Chan brought out exquisite detail whilst never losing sight of the big picture and clearly relished the work’s vibrant colours.

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Ravel and Strauss – The Sunday Times

Karina Canellakis, making her conducting debut with the LSO, gave us beautifully fluent accounts of Strauss’ Symphonic Fantasy, Death and Transfiguration, and of Ravel’s Piano Concerto in G major and La valse. The concerto afforded the sunniest musical sensations of the week.

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Christ on the Mount of Olives – The Sunday Times

I found myself constantly drawn to the inward drama of the tone-to-tone unfolding as governed by Rattle’s tempi ... one feels the music could take us anywhere.

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Ravel and Strauss – Seen and Heard

Here was a truly touching fragility and a magical transparency, as the muted strings’ syncopated breathing and the timpani’s pulse, faltering but still throbbing with life, was juxtaposed with the glistening harp and woodwind memories.

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Beethoven's 'Choral' Symphony – Seen and Heard

The opening Rondo was sumptuously played by the orchestra’s rich strings, with particularly expressive contributions by woodwind and horns.

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Ravel and Strauss – Bachtrack ★★★★

[Canellakis] has a clear and continuous beat, conveys her own delight in the music, and reserves really expansive gestures for episodes of, well, transfiguration. Nothing could follow this, surely ... but few pieces end a concert as well as Ravel’s La valse.

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Beethoven's 'Choral' Symphony – Evening Standard ★★★★★

[Beethoven]’s Symphony No 9 in D minor (Choral) was delivered, as always with these performers, as though every phrase, every note, really mattered.

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