BBC Proms – The Arts Desk

'The woodwind soloists shone, and Rattle’s longstanding relationship with the ensemble was clear from the freedom he was able to give each of them while still controlling the balance and pace.'
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BMW Classics – The Observer

'By the encore – more Dvořák – some in the Trafalgar Square audience were on their feet dancing.'
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Grieg, Rachmaninoff & Beethoven – The i ★★★★

'Cashmere strings set the tone in Grieg’s The Last Spring, the melody coaxing socially distanced players into a collective song whose husky edge – the sound of fingers sliding on fingerboards, bow-hair pulling against the string – provided the human touch that has been missing in recent digital concerts.'

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Edinburgh International Festival 2021 – Bachtrack

'The concert brought smiles all round and lifted the spirits on a summer evening.'
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Copland, Shostakovich & Tchaikovsky – The Guardian ★★★★

'Balancing grandeur with drive, his interpretation was at once exhilarating and superbly detailed, the playing wonderfully focused, particularly the all-important horn and bassoon solos at the start, the impertinent woodwind phrases in the March, and the whirling strings in the finale. Rip-roaring stuff, and hugely enjoyable.'

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LSO Futures – Bachtrack ★★★★★

'A rapt audience offered an equally rapturous response in four standing ovations. An instant classic is born – if anyone else dares to get their fingers round it.'

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Grieg, Rachmaninoff & Beethoven – Evening Standard ★★★★

'The orchestra generally sounded in good form, however, and seemed as pleased to see us as we were them.'

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Copland, Shostakovich & Tchaikovsky – Seen and Heard

'A fabulous event and a superb concert.'

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Britten, Fauré & Dvorák – The Spectator

'...there was some gloriously upfront individual playing, and the salted caramel woodwind tone and iridescent violin figuration in Dvorak’s Op. 46 Slavonic Dances was enough to leave you glowing.'

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Copland, Shostakovich & Tchaikovsky – Bachtrack ★★★★

'The LSO were as refined as you’d expect and Tilson Thomas knew exactly how to control the dynamics and tempo.'

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Britten, Fauré & Dvorák – The Guardian ★★★★

'The sound of an orchestra playing full out was a spine-tingling reminder of the live sounds we have missed for a year and more.'

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Copland, Shostakovich & Tchaikovsky – The Arts Desk ★★★★

What invention there is in the scherzo, crisply articulated, and the finale’s dazzling variations on the folksong “The Crane” duly dazzled. Full brass! Percussion!'

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Britten, Fauré & Dvorák – The Arts Desk ★★★★

'It began with a sense of wonder, not just from the Barbican's socially distanced audience but also from the stage, at “that sound you make with your hands”, as Simon Rattle put it'

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