Genesis Suite/Bartók – Financial Times

Each sound seemed to have been weighed to the milligram, allowing the contrasts maximum opportunity to register. The result was a performance that balanced a sense of finesse with mesmerising intensity.
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Genesis Suite/Bartók – Classical Source

Rattle's direction (of music by several composers he is unlikely to conduct elsewhere) was perceptive, and the LSO's playing assured; as was the contribution of the London Symphony Chorus
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Bernstein Age of Anxiety & Wonderful Town – Bachtrack

For the curtain call finale the contagious "Conga" was reprised as cast and choir snaked and kicked their legs through the aisles of the hall – picking up audience members along the way – leading to a riotous on-stage dance. An evening finally of memorable fun and high-spirits with the anxiety of the dank, chilly outside world, for a time, forgotten.
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Genesis Suite/Bartók – Seen and Heard

The LSO’s highly wrought, ultra-dramatic way with the music not only surprised, but truly enlightened, enriching my understanding of the possibilities of a work I had thought I knew well.
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Bernstein Age of Anxiety & Wonderful Town – Evening Standard

[Alysha Umphress's] vigour and vulgarity energised everyone, including Rattle. He gave us an encore, a reprise of the work’s celebrated Conga, which had the audience dancing in the aisles. You don’t get that after a Mahler symphony, that’s for sure.
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Schubert/Rameau/Handel/Mahler – Financial Times

In Mahler’s Rückert-Lieder she was ideal for the lighter songs, where her near-soprano can reach gracefully to the higher notes, and engaged intently with the texts of the others. Three Handel arias, nimbly accompanied by the LSO players, followed after the interval.
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Bernstein Age of Anxiety & Wonderful Town – The Times

If you want to give someone a fun Christmas present, beg, borrow or steal a ticket for Thursday evening. That’s when the London Symphony Orchestra and Simon Rattle repeat this joyous concert presentation of Leonard Bernstein’s 1953 musical Wonderful Town.
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Schubert/Rameau/Handel/Mahler – Seen and Heard

Rattle took the second movement at a seemingly ideal flowing tempo, the expression again lyrical but delivered with a light touch, to create an interpretation of the symphony as a whole that seemed absolutely perfect.
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Strauss & Mahler – Opera Today

This Rattle/LSO Das Lied von der Erde was also outstanding because Rattle understood its structural architecture ... the LSO plays for him as if divinely inspired.
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Schubert/Rameau/Handel/Mahler – Evening Standard

Nobody knows why Schubert didn’t finish the symphony, but this performance, both measured and expansive, felt like a complete musical experience.
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Bernstein Age of Anxiety & Wonderful Town – Seen and Heard

The LSO and Rattle were unfailingly sympathetic accompanists – the work is essentially a piano concerto in all but name – and articulate, engaged contributors in their own right.
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Half Six Fix: Bernstein's Wonderful Town

The London Symphony Orchestra’s final Barbican show of the year – show is more fitting than mere concert – was 90 minutes of unalloyed pleasure and delight; a suitably celebratory curtain call for new music director Simon Rattle.
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Bernstein Age of Anxiety & Wonderful Town – Financial Times

its musical portrayal of New York seethes with raw energy and was brilliantly played here by Rattle and the LSO, especially the jazz band brass, giving the John Wilson Orchestra a run for its money.
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