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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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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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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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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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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