Grieg, Rachmaninoff & Beethoven – The i ★★★★

'Cashmere strings set the tone in Grieg’s The Last Spring, the melody coaxing socially distanced players into a collective song whose husky edge – the sound of fingers sliding on fingerboards, bow-hair pulling against the string – provided the human touch that has been missing in recent digital concerts.'

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Copland, Shostakovich & Tchaikovsky – The Guardian ★★★★

'Balancing grandeur with drive, his interpretation was at once exhilarating and superbly detailed, the playing wonderfully focused, particularly the all-important horn and bassoon solos at the start, the impertinent woodwind phrases in the March, and the whirling strings in the finale. Rip-roaring stuff, and hugely enjoyable.'

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Britten, Fauré & Dvorák – The Times ★★★★

'The applause was loving, sustained, emotional, and it came from all three tiers of the Barbican concert hall'

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Grieg, Rachmaninoff & Beethoven – Evening Standard ★★★★

'The orchestra generally sounded in good form, however, and seemed as pleased to see us as we were them.'

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Vaughan Williams & Britten – The Times ★★★★★

Under Antonio Pappano you could feel the ancient weight of flying buttresses and, in the pale sound of the distant nonet, sense the dance of dust motes in the light of clerestory windows. With fearless solo playing from every section of the orchestra, this performance was magnetic and disturbing.

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Britten, Fauré & Dvorák – The Spectator

'...there was some gloriously upfront individual playing, and the salted caramel woodwind tone and iridescent violin figuration in Dvorak’s Op. 46 Slavonic Dances was enough to leave you glowing.'

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Vaughan Williams & Britten – The Guardian ★★★★★

Pappano’s way with the Tallis Fantasia, grand yet immediate, resulted in a performance of great dignity, sensuous and austere by turns, majestically played.

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Britten, Fauré & Dvorák – The Guardian ★★★★

'The sound of an orchestra playing full out was a spine-tingling reminder of the live sounds we have missed for a year and more.'

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Vaughan Williams & Britten – Bachtrack ★★★★★

The LSO strings responded with playing of sensitivity and beauty, from the first chord which seemed to emerge fully formed from the ether to the final richly flourishing cadence. Surely there isn’t a more perfectly balanced and rich string band in the country.

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Britten, Fauré & Dvorák – The Arts Desk ★★★★

'It began with a sense of wonder, not just from the Barbican's socially distanced audience but also from the stage, at “that sound you make with your hands”, as Simon Rattle put it'

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Vaughan Williams & Britten – The Arts Desk ★★★★★

Frang took us on an out-of-body journey, never overdoing the major-minor oscillations which can sometimes seem self-pitying. The partnership with Pappano and the orchestra was breathtaking, sometimes quite literally so.

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Britten, Fauré & Dvorák – Bachtrack ★★★★

'Toes were tapped, cymbals crashed the final furiant with abandon, followed by an audience roar. It was good to be back.'

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Ravel and Strauss – The Sunday Times

Karina Canellakis, making her conducting debut with the LSO, gave us beautifully fluent accounts of Strauss’ Symphonic Fantasy, Death and Transfiguration, and of Ravel’s Piano Concerto in G major and La valse. The concerto afforded the sunniest musical sensations of the week.

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