Sir John Eliot Gardiner's Schumann – Bachtrack

The woodwinds gliding through the lean, lyrical strings were special, yet the highlights were in the clarity of the contrapuntal and chorale-like sections of the Finale, where Gardiner rose to his credential as early music specialist.
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Sir John Eliot Gardiner's Schumann – The Arts Desk

The Romanza's startlingly spare unisons of oboe and cello were exquisitely rendered by key LSO player Oliver Stankiewicz, virtually leading the standing woodwind, and principal cellist Rebecca Gilliver; leader of the Schumann evenings so far Carmine Lauri brought the voice from another planet - Clara descending to console Schumann in bleak mood? - which makes a longer stay in the heart of the Scherzo (the reappearance still seems radical).
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Brahms/Dutilleux/Ravel – The Times

In the Ravel, every detail of the Dance générale sprang from the energy and precision of the harps. Bringuier’s technique and taste are impeccable. What a remarkable debut.
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Schumann & Berlioz – The Times

The LSO offered unstinting attentiveness to detail and colour, and flawless technique, even as Gardiner’s pulses teased at the edge of playability in their slowness (Berlioz’s Le spectre de la rose) and daring (Schumann’s Scherzo).
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Brahms/Dutilleux/Ravel – Classical Source

The LSO caught every nuance of its opulent orchestration, with Bringuier presiding over a miraculous clarity and separation of texture.
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Schumann & Berlioz – The Arts Desk

A stone would have melted at one of the most remarkable concert performances I've ever witnessed from a singer, the luminous Swedish mezzo Ann Hallenberg's total collaboration with Gardiner and the LSO in Berlioz's Les nuits d'été.
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Brahms/Dutilleux/Ravel – Seen and Heard

Needless to say, the LSO played with outstanding virtuosity.
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Schumann & Berlioz – Bachtrack

Acknowledging the audiences’ enthusiasm, Gardiner and the LSO reprised the last section of the Scherzo. Under Gardiner’s leadership, the LSO have rediscovered a compelling language.
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Brahms/Dutilleux/Ravel – Bachtrack

...with the LSO in absolute top form under the baton of the young French conductor Lionel Bringuier, two such masterpieces by Brahms and Ravel served above all as an exciting showcase for orchestra.
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Schumann & Berlioz – Classical Source

The musicians responded gratifyingly to the Adagio’s heart-wrenching invention, not least oboist Olivier Stankiewicz whose phrasing was a thing of beauty, and the whole had an almost unbearable emotional power, and the Finale was blistering.
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Helen Grime/Prokofiev/Strauss – Seen and Heard

If I have heard better live performances of either Prokofiev’s Second Violin Concerto or Strauss’s Alpine Symphony, then I must have forgotten them.
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Brahms/Dutilleux/Ravel (Colston Hall, Bristol) – Bristol 24/7

Sumptuous in their portrayal of some of classical music’s best loved works, the LSO proved beyond doubt that they deserve their place amongst the leaders of classical music. A night to remember, a night of glory, a night of utterly transformative music.
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Helen Grime/Prokofiev/Strauss – The Times

[Harding] handled this one brilliantly, savouring each luridly picturesque moment while still suggesting that serious musical thought underpinned every bar.
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