Lizst & Mahler – The i

'After two lean years, the physical thrill of a symphony whose sound swallows you whole, punches you breathless with its brass and whose finale swells into a chorale that turns a concert hall into a church was overwhelming.'
Read full review

Liszt & Mahler – The Observer

'Live music on this scale, requiring nearly 100 players, was all but absent in lockdown. Hard to imagine we will ever again take its presence for granted. Tilson Thomas shaped Mahler’s grand contours with clarity, yielding and reining in, without indulgence or schmaltz.'
Read full review

Kurt Weill – The Arts Desk

'Rattle does grasp that this wicked takedown of the Austro-German canon needs gravity as well as comedy. In the final grand chorale, he emphatically delivered it.'
Read full review

Lizst & Mahler – Bachtrack

'When both arms are engaged in sweeping arcs, you instinctively know that the LSO will respond appropriately with even more commitment.'
Read full review

Kurt Weill – Opera Today

'The LSO were crisp and clear, the string playing bright and warm, the whole airy and fresh.'
Read full review

Liszt & Mahler – The Times

'nothing stopped this performance from grabbing our hearts when it really mattered. The result? A standing ovation.'
Read full review

Kurt Weill – Evening Standard

'The momentum of the whirlwind tour was admirably projected by Rattle and the superb instrumentalists of the LSO'
Read full review

Liszt & Mahler – The Arts Desk

'in the second movement, that passage where the music stops and an ethereal melody appears unaccompanied on the cellos, a moment of real magic under MTT’s baton. By not pushing the climaxes, he gave the LSO brass the space to shine.'
Read full review

Ravel, Dani Howard, Qigang Chen, Stravinsky – The Arts Desk

'The LSO strings rose to every challenge, bringing clarity and focus.'
Read full review

Liszt & Mahler – The Evening Standard ⭐⭐⭐⭐⭐

'That movement’s painful longing felt especially poignant, while the finale exuded carnivalesque vigour. The standing ovation that followed was unanimous, prolonged and utterly heartfelt.'
Read full review

LSO Futures – The Times

'Who wouldn’t want to listen to a kaleidoscope of orchestral detail, and all those beautifully played solos [in Joel Järventausta's Sunfall]? The conductor François-Xavier Roth and the London Symphony Orchestra revelled in it.'
Read full review

Kurt Weill – The Times

'Dangerously pungent brass, bluesy languor, fierce attack, rhythms sharp enough to cause bleeding: these were among the special joys of Weill’s tart instrumental compendium from The Threepenny Opera and that world-weary masterpiece The Seven Deadly Sins, early fruit of his émigré years.'
Read full review

LSO Futures – The Guardian

'...a racy performance of Till Eulenspiegel and an edgy, almost histrionic one of Death and Transfiguration, both delivered with full-spectrum brilliance by the LSO'
Read full review