Bernstein, Dvorák & Janácek (Edinburgh Festival) – Bachtrack

The combination of his experience with the London Symphony Orchestra's crack team of musicians created something pretty special, a sound so dazzling that it felt as though the heatwave had returned for one night only.
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Bernstein, Dvorák & Janácek (Edinburgh Festival) – Seen and Heard

It was a tremendous performance by Sir Simon and his virtuoso players
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Shostakovich double bill – Classical Source

The short second movement, the so-called “Portrait of Stalin” (if Volkov is to be believed), was delivered at a terrific pace, the LSO fully committed.
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Bernstein, Dvorák & Janácek (Edinburgh Festival) – The Arts Desk

The fizzing chemistry that Rattle and the LSO players have clearly built up over their first season together was blazingly evident – not least in the concert’s gargantuan opener, Bernstein’s Symphony No. 2, The Age of Anxiety.
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Shostakovich double bill – Bachtrack

The resultant Burlesque, limping in its own subversive intent, was all any Shostakovich enthusiast could have wished for, full of zest and a smirk.
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LSO at Tate Modern – Daily Telegraph

The wit and delicacy of the plinks and plunks was a delight, and the moment when Stockhausen tossed brass chords from orchestra to orchestra was thrilling.
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Shostakovich double bill – The Arts Desk

Noseda has the intuitive sense of drama to bring it off. Just one of the many qualities he brings to make the Noseda/LSO combination a near-perfect fit for Shostakovich.
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LSO at Tate Modern – The Times

Across the Turbine hothouse, Rattle, Pintscher, and the very enthusiastic Duncan Ward co-ordinated the unflagging musicians with impressive precision.
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Ravel, Beethoven & Mussorgsky – Classical Source

Simon Haram gave a supremely elegiac solo on saxophone in ‘The Old Castle’, and Philip Cobb’s trumpet was devilish in ‘Samuel Goldenberg and Schmuÿle’. ‘Bydlo’ was awesome: firm tread, controlled crescendo, with a militaristic climax.
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LSO at Tate Modern – Frieze.com

You could revisit it endlessly: it’s a work that rejects a definitive audience experience. I could have gorged on it over and over again.
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Beethoven Missa Solemnis – Daily Telegraph

Right from the plushly upholstered, beautifully shaped opening chords, Tilson Thomas created an aura of solemnity. An exacting conductor, he drove a sweeping account of the Gloria, while leaving room for finely balanced reflective moments.
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LSO at Tate Modern – The Guardian

The public nature of the space felt entirely appropriate and the music made a forceful impact, but there were moments of quiet, intense beauty too.
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Mahler in New York – The New Yorker

a series of Mahler concerts that Rattle gave with the London Symphony in early May made me wonder whether he is arriving at a new level of mastery. He became the music director of the L.S.O. last September, and the orchestra is playing sensationally well for him.
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