The Cunning Little Vixen – The Times

The LSO strings snapped into life, their spiccato bowing a thrum of beating insect wings. Into the woods we went.
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The Cunning Little Vixen – Financial Times

Having the orchestra on the platform, rather than constrained in a pit, reveals Janacek’s orchestral writing to be a wonderfully seething world of colour and detail, superbly played here by the LSO and its music director with an uplifting sense of spontaneity.
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Beethoven, Shostakovich & Berlioz – Classical Source

Noseda and the LSO surpassed themselves in their openness to Berlioz’s astounding originality, and the playing was superbly idiomatic, with a saturated sound that kept its transparency. Tamestit is the subject of the LSO’s Artist Portrait next season – so that’s something to look forward to.
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The Cunning Little Vixen – The Guardian

Finley, in a deeply moving performance, is in many ways the protagonist here, a melancholy, alienated figure who eventually finds contentment in acceptance of the eternal renewal of nature. Crowe, in superb voice, makes a wonderful Vixen, mischievous, charismatic, naive yet tender in her duet with Burgos.
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Beethoven, Shostakovich & Berlioz – Bachtrack

The poise of the strings’ opening phrases, Trifonov’s subtle touch and the elegiac feeling Cobb brought when the muted trumpet takes up the theme, bestowed a magical benediction.
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LSO & Guildhall School Side-by-Side – Seen and Heard

The emotionally pent-up playing in the mystery-laden build-up to the work’s ending seemed to suggest that something very special was about to happen, and so it proved to be. That final climax had a particularly triumphal quality and formed a perfect end to a memorable evening.
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Mattison, Tchaikovsky & Rimsky-Korsakov – Bachtrack

Cohesive narrative was maintained through persuasively shaped phrasing. Eye contact with the woodwinds – and over-the-shoulder glances at the violins – teased out dialogues, especially in the central movement which took on the quality of intimate chamber music. [Alica Sara Ott] transformed the finale into a playful Scherzo, playing cat and mouse with the orchestra.
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LSO & Guildhall School Side-by-Side – The Arts Desk

No indulgences needed to be made for the students of the Guildhall School of Music next door. They slotted seamlessly within the ranks of the LSO to conjure a luminous halo of string sound...
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LSO Artist Portrait: Daniil Trifonov Solo Recital – The Guardian

All received revelatory performances, whether in the hyperactive, almost anarchic figuration conjured up in his left hand through the scherzo of Beethoven’s E flat Sonata Op 31 No 3, or the glittering decoration in the Andante Favori
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LSO & Guildhall School Side-by-Side – Bachtrack

Rattle offered some of the gentlest, tenderest phrasing I have ever heard in this movement, with dynamics often pared down to a whisper, like watching in a slow-frame sequence groups of young maidens floating through summer meadows and picking posies of wildflowers.
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LSO Artist Portrait: Daniil Trifonov Solo Recital – Daily Telegraph

Playing a Fazioli instrument, he never made an ugly sound even amid the motor rhythms and fusillades of the finale, and in the central movement he conjured up the innocence of a world lost for ever.
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LSO & Guildhall School Side-by-Side – Classical Source

From shimmering to sonorous (but never too loud or brass-heavy), the LSO and its Guildhall guests made for an impressive coming-together of youthful and experienced talent…All in all, an inspiring evening.
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Ives & Beethoven – Classical Source

The performance was everything one might have hoped.
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