On the chutzpah scale this knew no bounds. What next at the LSO? How about an opera duets evening with Simon Rattle, hopefully in his best voice?
Read full review

This wonderful, modest conductor’s gift is to bring out a work’s form and architecture, particularly vital for Bruckner. With a restrained flick of the baton or slight movement of a finger Haitink can trigger, from a lone horn call, an astonishing avalanche of sound.
Read full review

Not surprisingly, the LSO was in its element, displaying its long pedigree in musical theatre, effortlessly translating the vibes coming from Hannigan’s gently swaying body into the most beguiling rhythmic diversions, and then, for the penultimate stanza of “Embraceable You”, adding with its own collective voice suitable reinforcements to the vocal line.
Read full review

Thrumming double basses, weird forest sounds from the clarinets, second violin lines all emerged with exceptional vividness; and the pace allowed the violent explosion at the development's climax to truly haunt as a vision of destruction, the foreshadowing of the Fifth's funeral-march fanfare on low trumpets casting the shadow of death.
Read full review

The capacity Barbican Hall audience gave Hannigan an ecstatic reception, leaping instantly to their feet. It was impossible not to smile.
Read full review

Haitink was aided by the most characterful woodwind team in London, limpid flutes and juicy clarinet tone especially beguiling. The powerful LSO strings were tamed by the tiniest of finger trembles from the conductor, portamentos always the decent side of tasteful, the whole thing grounded by the gruff grumbles of the terrific double bass section. Neil Percy teased the sleigh ride along buoyantly and Katy Woolley’s burnished horn solos were golden and ripe.
Read full review

When Hannigan spun around on the podium in the third movement of Berg’s Lulu Suite and began to sing, her intonation and diction pristine, the impact was electrifying.
Read full review (subscription required)

A heartfelt standing ovation followed, deep-bowed-to by Haitink, and the LSO, just as appreciative, had played like angels for him: Das himmlische Leben.
Read full review

The orchestral playing was refined and the excellent, diabolically re-tuned, solo violin from the often flamboyantly swaying guest leader, George Tudorache, was admirably supported by all the contributions from the principal players.
Read full review

This was a memorable concert with the sense of having witnessed something very special. At the start of the evening, Haitink came on stage to the sort of rapturous ovation which most would very happily accept at the end of a concert; two hours later, he left to little short of a hero's send-off.
Read full review

I couldn’t help feeling that nowhere in the world would one find a more authoritative Bruckner 4 than this one, with this conductor: the Brucknerian of the age.
Read full review (subscription required)

He brought out the luminosity and joy of a score inspired by a romanticised medieval world, made sense of baffling moments and left its wonderful mysteries intact.
Read full review (subscription required)