LSO at Tate Modern – The Guardian

The public nature of the space felt entirely appropriate and the music made a forceful impact, but there were moments of quiet, intense beauty too.
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Shostakovich double bill – Classical Source

The short second movement, the so-called “Portrait of Stalin” (if Volkov is to be believed), was delivered at a terrific pace, the LSO fully committed.
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Beethoven Missa Solemnis – Classical Source

Any performance of the Missa solemnis should be an event and this LSO account undoubtedly was exactly that...The orchestral playing throughout was of the highest order. In the context of this level of conviction the very few slips were entirely immaterial, for this was a real achievement and the best of the many live Missa performances I have so far had the privilege of hearing.
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Shostakovich double bill – Bachtrack

The resultant Burlesque, limping in its own subversive intent, was all any Shostakovich enthusiast could have wished for, full of zest and a smirk.
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Beethoven Missa Solemnis – Seen and Heard

All concerned seemed to be joining together to create a performance in which personalities were not projected, but where everybody was united in striving to realise Beethoven’s mighty inspiration effectively.
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Shostakovich double bill – The Arts Desk

Noseda has the intuitive sense of drama to bring it off. Just one of the many qualities he brings to make the Noseda/LSO combination a near-perfect fit for Shostakovich.
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Sibelius with MTT – The Times

with a reduced string section — the orchestra scrupulous and spry under Michael Tilson Thomas — Chen’s was the voice that carried us through.
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Ravel, Beethoven & Mussorgsky – Classical Source

Simon Haram gave a supremely elegiac solo on saxophone in ‘The Old Castle’, and Philip Cobb’s trumpet was devilish in ‘Samuel Goldenberg and Schmuÿle’. ‘Bydlo’ was awesome: firm tread, controlled crescendo, with a militaristic climax.
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Sibelius with MTT – Classical Source

In Symphony 7, MTT, initially without baton, laid-out its river-like flows and eddies with a clarity that in no way compromised its fleeting process of growth and decay, in which it scarcely mattered where one section ends and another takes over. The ending, magnificently played, brought the concert to a majestic close.
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Beethoven Missa Solemnis – Daily Telegraph

Right from the plushly upholstered, beautifully shaped opening chords, Tilson Thomas created an aura of solemnity. An exacting conductor, he drove a sweeping account of the Gloria, while leaving room for finely balanced reflective moments.
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Mahler Symphony No 10 (Lincoln Center, New York) –

The result was meticulously executed ecstasy, thousands of calibrated shivers adding up to memorable wildness.
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Mahler in New York – The New Yorker

a series of Mahler concerts that Rattle gave with the London Symphony in early May made me wonder whether he is arriving at a new level of mastery. He became the music director of the L.S.O. last September, and the orchestra is playing sensationally well for him.
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Mahler Symphony No 10 (Lincoln Center, New York) – New York Classical Review

Specific techniques, like one trumpet seamlessly taking over a long, sustained pitch, from another were perfect, and the whole group played with an exact control of minute variations in dynamics—one of Rattle’s calling cards—that was outstanding and highly expressive.
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