Rózsa & Bartók – The Guardian ★★★★★

'It’s hard to imagine a better performance of the latter’s virtuosic violin concerto...The orchestral playing was consistently brilliant; Karabits should be a regular visitor to the LSO from now on.'

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Soweto Kinch White Juju – Financial Times

'Violins sweep, brass and double bass combine on angular modernist lines, while flutes, clarinets and trumpets blend to magical effect.'

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Artist Portrait: Antoine Tamestit - Bachtrack

'In the two dramatic orchestral outbursts, the LSO reminded us how virtuosic they can be in Walton.'

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Soweto Kinch White Juju – The Arts Desk

'It received a loud, prolonged, vociferous and very enthusiastic reception in a nearly-full Barbican Hall.'
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Artist Portrait: Antoine Tamestit - Evening Standard

'The outstanding French violist Antoine Tamestit, playing at this Barbican LSO concert, clearly has a strong grasp of the work’s counterpoise of high spirits and self-communing, bringing to it a wonderfully refined tone that could be genial or plangent as required.'

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Gossec, Saint-Saëns & Beethoven – Bachtrack

'A fleet-of-foot Scherzo traversing the impish and the rustic (horns frolicking in the Trio) led straight into a characterful Finale, propelled with crispness of articulation, vivid colouration and well-judged tempi; a life-enhancing close to an evening of compelling music-making.'
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Artist Portrait: Antoine Tamestit – The Arts Desk

'In addition to the familiar, smoky sound we know and love from this gorgeous, still-underrated member of the string family, there was violinistic soaring into the stratosphere, nimble wise-cracking, chameleon-like colouration adapted to a range of unusual orchestral combinations, and the switching-on of power in the finale to sound like an entire orchestral viola section.'
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Gossec, Saint-Saëns & Beethoven – The Times

'He drew our ears to every corner of the LSO, from sepulchral double basses driving the Marcia funebre and the Trio’s glorious horns to a brief spotlight on a solo string quartet in the Finale.'

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Artist Portrait: Antoine Tamestit – Bachtrack

'The LSO strings have never sounded as warm and full as when opening the piece and in the many later tuttis.'
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Artist Portrait: Antoine Tamestit - The Guardian

'Both were superbly played by the LSO, the brass particularly outstanding, and Harding’s unfussy approach to the pictorial elements of the poem brought its gruesome narrative very convincingly to life.'

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Nicola Benedetti & Daniel Harding: Evening Standard

'Harding and the excellent LSO sensitively negotiated the switches between dark tragic colouring and sunny lyrical warmth. Especially poignant was the final chorale for wind and brass, complemented by seraphic strings: piteous, almost a benediction.'
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Artist Portrait: Antoine Tamestit - The Times

'It’s the sort of work that leaves you rolling your eyes one minute and gasping at the sheer intricacy another.'

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Artist Portrait: Antoine Tamestit - The Times

'The moment Tamestit struck up, firm in tone but effortlessly soulful, he and his precious 1672 instrument (the earliest surviving Stradivarius viola) had our complete attention.'

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