Berlioz, Hannah Kendall, Sibelius, Bartol, Ravel – Bachtrack

'Needless to say, the orchestra played magnificently for him, not least Peter Moore’s soaring trombone solos.'
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The Creation – Music OMH

'The orchestra throughout the work gave us a complete 18th century sound world, demonstrating Haydn’s playfulness to the max: a consummate understanding of ‘surprise’ dynamic; a twinkle from the fortepiano on ‘harps’; some furious string bowing for the storms; the stillest playing for moonrise, a precisely observed pastiche flute pastoral for the cattle, and the warmest low strings for ‘Be fruitful’.'
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Strauss & Poulenc – Classical Source

'Hannigan’s control of the pace and abrupt mood swings is brilliantly achieved, and the LSO was on exemplary form.'
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Strauss & Poulenc – The Spectator

'The orchestral playing in La voix humaine was objectively excellent: vivid, sensuous, and delivered with flashing precision. (It goes without saying that she can sing the socks off the piece, too.)'
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Strauss & Poulenc – Seen & Heard

'This was a glorious performance by the human voice, certainly, but equally so in terms of conducting and something approaching live filmed ballet, the two (or three) often fusing to form a greater ‘act’.'
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Strauss & Poulenc – Hackney Citizen

'Hannigan seems as though she is effortlessly teetering on the verge of a mental breakdown. To be able to inhabit that role while also keeping an orchestra perfectly ticking along is the reason she is such a unique force in classical music ... We leave drained but strangely uplifted by her expansive talent and the combined might of the LSO, which never disappoints.'
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Strauss & Poulenc – The i

'It’s hard not to be impressed. The sheer technical artistry on show is mind-blowing.'
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The Creation – Bachtrack ⭐⭐⭐⭐⭐

'Haydn’s music was vintage champagne, and the performance was celebratory enough for any occasion.'
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Strauss & Poulenc – The Guardian

'Though she is amplified, the role suits her well vocally, and there is plenty of the underlying orchestral sensuality that Poulenc demanded.'
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The Creation – The Times

'Crowe reminded us that what matters most about the Barbican’s 40-year history is not the backstage rows but the thrilling performers who bring these subterranean halls to life.'
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Half Six Fix: La voix humaine – The Times

'She conducts the London Symphony Orchestra, on superb form, with a series of conventional gestures and acted movements, some unsettling, some delicate, some absurdly funny. The experience of seeing Hannigan live and staring back from a screen feels a little like when you glimpse yourself on Zoom. This is theatre of the self.'
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Strauss & Poulenc – Opera Today

'Hannigan received a standing ovation at the end of the performance. And, why not? This was a stunning demonstration of technical skill, artistic invention and expressive commitment.'
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Copland, Haydn, Offenbach & Weill – Seen & Heard

'Daniel Jemison’s bassoon solo in the Andante theme and variations had a quasi-ironic elegance that was winningly judged, and the ornaments of the repeat were subtle and suave. Flautist Claire Wickes was supported by neat, precise string playing, and cellist Rebecca Gilliver brought a measured dash of Romantic warmth to the theme in the solo quartet episode.'
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