Unsuk Chin, Sibelius & Mahler – The Times ⭐⭐⭐⭐⭐

'When the London Symphony Orchestra is on this kind of supercharged form, and Simon Rattle doing repertoire he conducts more convincingly than anyone else, you really don’t want a concert to end.'
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Unsuk Chin, Sibelius & Mahler – The Guardian

'The solo writing is strenuously demanding – Kavakos seemed totally at ease with every one of its challenges – while the LSO relished all the usual glitter and playful fizz of Chin’s sound world.'
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Rózsa & Bartók – The Guardian ★★★★★

'It’s hard to imagine a better performance of the latter’s virtuosic violin concerto...The orchestral playing was consistently brilliant; Karabits should be a regular visitor to the LSO from now on.'

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Unsuk Chin, Sibelius & Mahler – Daily Telegraph

'It was a heartening reminder that despite the deadening effects of the pandemic, composers are still able to dream big, ambitious dreams, and orchestras are still willing to make them a reality.'
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Soweto Kinch White Juju – Financial Times

'Violins sweep, brass and double bass combine on angular modernist lines, while flutes, clarinets and trumpets blend to magical effect.'

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Debussy, Berlioz & Mahler – The Times

'the LSO’s playing was so pristine, and the attention to detail so precise that Karabits’s chiselled kaleidoscopes had their own value and force.'
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Soweto Kinch White Juju – The Arts Desk

'It received a loud, prolonged, vociferous and very enthusiastic reception in a nearly-full Barbican Hall.'
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Debussy, Berlioz & Mahler – Daily Telegraph

'Finally came the Mahler symphony, which was every bit as vividly coloured as one expected from that vital figure on the podium.'
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Gossec, Saint-Saëns & Beethoven – Bachtrack

'A fleet-of-foot Scherzo traversing the impish and the rustic (horns frolicking in the Trio) led straight into a characterful Finale, propelled with crispness of articulation, vivid colouration and well-judged tempi; a life-enhancing close to an evening of compelling music-making.'
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Debussy, Berlioz & Mahler – Bachtrack

'All the sections of the LSO were on fine form in Berlioz’ Le Roi Lear...Karabits brought out all the angriness in the frequent blasts from the brass (a tuba replacing the original ophicleide), the heightened emotions in the agitated writing for the strings, and gave the affecting oboe solos traditionally associated with Lear’s misaligned daughter Cordelia time to breathe'
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Gossec, Saint-Saëns & Beethoven – The Times

'He drew our ears to every corner of the LSO, from sepulchral double basses driving the Marcia funebre and the Trio’s glorious horns to a brief spotlight on a solo string quartet in the Finale.'

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Rózsa & Bartók – Daily Telegraph

'[Roman Simovic] certainly deserved their hearty appreciation for his agile way of turning instantly from melting lyricism to stamping rustic vigour.'

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Artist Portrait: Antoine Tamestit - The Guardian

'Both were superbly played by the LSO, the brass particularly outstanding, and Harding’s unfussy approach to the pictorial elements of the poem brought its gruesome narrative very convincingly to life.'

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