Mahler Symphony No 9 (Symphony Hall, Birmingham) – Seen and Heard

Throughout the performance I’d been profoundly impressed by the playing of the LSO but in this long finale they seemed to move to an altogether higher plane...This was a performance of rare distinction and utterly compelling.
Read full review

Mahler Symphony No 9 (Tonhalle, Zurich) – Bachtrack

What Rattle and the LSO gave us in Zurich was a generous gift.
Read full review

Tippett & Mahler – The Times

Rattle had the symphony internalised, conducting without a score, and the LSO were on inspired form. The variety of string tone and colour, in particular, seemed endless: ghostly, rich, shadowy, snarling and compassionate.
Read full review (subscription required)

Helen Grime & Mahler – The Observer

Man (on this occasion) of the match goes to Chi Yu-Mo, who plays the small but powerful E flat clarinet. He hit his shrill, high notes with spot-on intonation, duetting effortlessly with violin or piccolo or flute, ranging in style from klezmer dance to bucolic shepherd to anarchic goat.
Read full review

Helen Grime & Mahler – Evening Standard

The aspiring, string-rich lines and voluptuously bitter-sweet harmonies have an almost Mahlerian quality and provided a suitable complement to his Ninth Symphony.
Read full review

Mahler Symphony No 9 (Tonhalle, Zurich) – Seen and Heard

Rattle controlled the ending to perfection: we felt the composer’s breath fading away (Mahler never heard the work performed). I came away moved. A standing ovation said it all.
Read full review

Tippett & Mahler – Classical Source

A superb response from the LSO, not least the percussion with its defining role for rototoms, fairly set the seal on a reading that reaffirmed Tippett’s ultimate work as a defining one of the late-twentieth-century.
Read full review

Helen Grime & Mahler – The Arts Desk

A masterful display of tempo manipulation from Rattle created a virtuoso exercise in jamming together country dances and urban waltzes, and observing dispassionately what happens when they collide, with the kind of sharp-eyed melancholy we may imagine without much effort in the mind of the child Gustav, peering through the grimy windows at the low-life punters of his father’s down-at-heel tavern.
Read full review

Tippett & Mahler – Bachtrack

The playing was on a high level throughout, marrying sensitivity with virtuosity, and what was especially remarkable was how in the very last movement the conductor was able to mobilise ever-greater reserves of tonal amplitude from the strings, so that the closing pages unfolded with an aching inevitability.
Read full review

Tippett & Mahler – The Spectator

The LSO’s violins gleamed and rippled with a liquid sheen, and fanfares of birdsong blazed: an old Messiaen hand, Rattle knows how to clarify or blend the different colours of even the most iridescent woodwind chord.
Read full review

Tippett & Mahler – Financial Times

The unfinished Symphony No.10, played in the completion by Deryck Cooke which Rattle has been conducting from his earliest years, was profound, numbing, deeply moving.
Read full review (subscription required)

Tippett & Mahler – Daily Telegraph

Rattle has surely done nothing finer since his arrival at the LSO.
Read full review

Helen Grime & Mahler – Finanical Times

In three movements Woven Space has the concentration of a symphony, and, dazzlingly played by Rattle and the LSO, it was more than a curtain-raiser to what followed.
Read full review (subscription required)