The London Symphony Orchestra’s opening Beethoven 250 programme was a reminder of what it means to look afresh at music we think we know.
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What Rattle made clear is that the music is full of life. It is hard to imagine this performance being bettered.
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The LSO woodwind and horns shone darkly, and we concluded in both serenity and splendour.
In the hands of Simon Rattle and the London Symphony Orchestra, Beethoven’s only oratorio Christ on the Mount of Olives sparkled very brightly indeed.
What emerged in the first movement ... was a lean and muscular sound, the brisk basic pulse taking the argument forward with clear-eyed determination.
For all his attention to the coruscating orchestral fabric Rattle kept a sense of pulse and direction that led the ear through those constantly shifting perspectives.
At once visceral and disciplined, (Roth) drew scintillating playing from each section...
This was a finely prepared and often gripping account which warranted the enthusiastic reception it received.
The celebratory energy of Tippett’s writing shone forth. Here, truly, was dynamic rhythm — not a matter of assertion or aggression, but of spiritual grace.
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A reconstruction of Berg's uncompleted Passacaglia led directly into the fascinating soundworld of the Three Pieces. Imagery, colour and rhythmic pungency were conveyed grippingly in Rattle's patiently built reading.
Under [Roth's] guidance, the LSO’s delivery of the score was truly miraculous.
Every note in every ornament was audible, with a keen, biting precision from each player, the symphony was as flawless any listener could ever hope to hear.
Roth drove this uncompromising score forward with a thrilling and theatrical precision.
