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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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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Essential Debussy – Bachtrack

Roth led the LSO in a performance not only of precision, but also of passion. It sounded as if they had had a week of rehearsal or played it many times before, which can hardly be the case. However it happened, the alchemy between the orchestra and its new Principal Guest Conductor worked and gave us the really essential Debussy.
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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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The Young Debussy – Daily Telegraph

Roth was alert to all these fleeting moments, and made sure we noticed them. But he didn’t downplay the passages of old-fashioned exuberant romanticism, in fact he relished them, as did the orchestra, which was on ravishing form. In all, it was a fascinating experience.
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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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The Young Debussy – Bachtrack

Roth has conducted the full opera at Oper Köln so he has it safely in his pouch, and the LSO responded like Wagnerian gods.
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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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Genesis Suite/Bartók – The Observer

Watching Rattle conduct the London Symphony Orchestra, from memory, in the same work at the Barbican last Sunday, it was clear that Bartók’s score courses through his entire being.
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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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Genesis Suite/Bartók – Daily Telegraph

Completely inside the musical argument, Rattle shaped a performance of extraordinary intensity. Compared with a few years ago, the LSO is a transformed orchestra: its cultivated sound was warm yet searing, and it wore its virtuosity lightly in the finale.
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Essential Debussy – Seen and Heard

The celebrated opening phrase of Prélude à l’après-midi, beautifully, enigmatically floated by Gareth Davies, immediately offered a sense of fantasy, even of magic, furthered by responses, whether from other soloists or the orchestra as ensemble.
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Genesis Suite/Bartók – The Guardian

With Rattle in charge, the LSO is regaining its distinctiveness, not only in its sound but in what it chooses to play – exactly what it and its audience needs.
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