Dvorák/Bruch/Elgar – Bachtrack

The orchestra played their part with real fire at times, especially in the extended tutti near the end of the first movement, and in the high-stepping gypsy finale.
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Janácek/Bartók/Elgar – The Times

[Elder's] measured interpretation disclosed so much detail, and the playing was gloriously suave.
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Mahler Symphony No 2 – Bachtrack

Bychkov maintained a grip on the piece throughout, the music never veering away in focus. A triumphant account which deserved the enthusiastic reception it was given from the audience.
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Dvorák/Bruch/Elgar – Classical Source

Elder’s rapport with the LSO enabled a performance of absolute conviction over its hour-long duration.
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Mahler Symphony No 2 – Daily Telegraph

Bychkov drew superb playing from the LSO, with sounds that signified something special – the harps, for instance, suggesting a tolling of bells.
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Mahler Symphony No 2 – Sunday Times

Its prodigious forces were marshalled and focused to a degree I’ve rarely experienced. Anna Larsson and Christiane Karg were wonderful vocal soloists. This was the classical concert as absolute essence.
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Mahler Symphony No 2 – Classical Source

Bychkov never let up in a searing performance that wove together the epic and the personal with exceptional clarity.
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Janácek/Bartók/Elgar – Seen and Heard

We are used to experiencing virtuoso playing from the LSO, but here the sheer beauty of the playing, particularly in the depth and sonority of the string sound, was quite special.
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Mahler Symphony No 2 – Evening Standard

This was a performance of energy and power, yet Bychkov also maintained focus on tiny details: a single plucked harp string, the tiny tinkle of a triangle carried as much weight as the mighty clash of cymbals or the pounding of two sets of timpani.
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Janácek/Bartók/Elgar – Classical Source

The performance itself felt fresh and true with leader Carmine Lauri making something lovely of his impossibly high-lying solo.
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Mahler Symphony No 2 – Seen and Heard

No detail seems too small – whether it was the tinkling of a triangle or the haunting offstage trumpets – and the playing of all sections of the LSO was as near-perfect as it is possible.
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Janácek/Bartók/Elgar – Bachtrack

Elder has mastered the art of control and restraint in Elgar’s music, building up at just the right point and then allowing the orchestra to take full flight, giving flashes of brilliance and digging deep in the emotionally charged narrative. It was stirring stuff indeed.
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Essential Debussy – The Times

Understated yet infinitely subtle, the conductor François-Xavier Roth conjures magic with little flicks of the wrists and fingers. Every note of this dreamy tone poem was balanced just so. The lazy, hot afternoon was ushered in on the gentlest of breezes by Gareth Davies’s flute solo, the air soon thick with sounds and the atmosphere sensuous.
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