Brahms & Beethoven – Classical Source

Throughout, Ax played with true musical distinction, full of deep concentration and vitality, the artistry of this pianist fully matched by that of conductor and orchestra. A memorable concert indeed, of great integrity and depth throughout: no other music was necessary.
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Britten & Mahler – The Times

From the susurrations of timpani and cymbals, and the nocturnal sigh of glissandi strings, to the bare-faced cheek of the bassoon figures, the crowing clarinet and the boyish spiccato of the solo part, this was an immaculately disciplined, brilliantly animated reading.
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Stravinsky ballets – The Times

The last thing you want with this revolutionary piece is to feel it as something normal. In this concert that was impossible. It sprang like a tiger, claws extended, though between the rampaging rhythms Rattle also achieved aching beauty and exceptionally miniaturised quiet.
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Britten & Mahler – Seen and Heard

Bychkov whipped up the remarkable LSO – especially the horns – to a resounding and affirmative conclusion. For a fleeting moment, I wondered if they would all finish together: I should never have doubted that they would and conductor and orchestra thoroughly deserved the audience’s acclaim.
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The Damnation of Faust – Daily Express

Karen Cargill was sublime as Marguerite, her burnished mezzo bringing out the emotional depths of the role. In the ballad of the King of Thule every word was imbued with feeling. Wonderful harmony too in the fusion of voice with the playing of viola soloist Alexander Zemtsov.
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Britten & Mahler – Classical Source

The skill with which Bychkov turned the second movement into a spectral wake made the opening diptych especially resonant.
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2017/18 season opening concert – Daily Express

Suddenly the familiar work, played exquisitely by the LSO, was new and exciting, especially so in the breathless hush at the beginning of the Nimrod adagio.
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Britten & Mahler – Bachtrack

[Bychkov's] approach to the finale, as Mahler moves from tragedy to triumph, was one of fierce industry, leading to a jubilant conclusion to a terrific concert.
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The Damnation of Faust – Sunday Times

The rafters were truly — sorry — Rattled.
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2017/18 season opening concert – The Herald

... if Rattle can fill existing venues to capacity for music that rarely gets a shout in seasons biased towards established “classical” box office names long dead, his will prove to be a very significant return indeed.
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2017/18 season opening concert – Sunday Times

This brief, vigorous piece [Birtwistle Violin Concerto], its orchestration jewelled with an array of tuned percussion, demonstrated the mastery of the doyen of British composers: still cutting-edge, even if he now revels in melodic flights of fancy, ideally suited to Tetzlaff’s rapt, expansive style.
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Stravinsky ballets – Seen and Heard

And there was a sense of real joy in the LSO’s playing of the opening of the Fourth Tableau, with everybody celebrating the special occasion of the Shrovetide Fair in the highest of spirits.
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Stravinsky ballets – The Observer

Petrushka fizzed like a good champagne, while Rite of Spring exhausted us with its primal violence. Rattle conducted from memory throughout.
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