Bernstein 1 & Mahler 1 – Classical Source

In this performance Alsop found plenty of depth in their declamation, the LSO string desks digging in to the Harris-like rhetoric
Read full review

Bernstein 1 & Mahler 1 – Bachtrack

Alsop worked hard to shape the climaxes powerfully, eventually reaching exuberance when the horn section – and the fourth trombonist – rose to their feet for a triumphant close. You had a feeling Lenny would have been on his feet too.
Read full review

Rachmaninov & Tchaikovsky – The Times

The London Symphony Orchestra wasn’t fazed by their demands and, in Rachmaninov’s Second Piano Concerto paired with Tchaikovsky’s Fourth Symphony, the results were exciting and satisfying.
Read full review (subscription required)

Bernstein & Mahler – The Guardian

[Marin Alsop] clearly believes passionately in the viability of the Kaddish, and like her performance of the Jeremiah Symphony, it was superbly played and sung by the LSO and its Chorus, and blazed with conviction.
Read full review

Rachmaninov & Tchaikovsky – Seen and Heard

... from the moment that Georgian pianist Khatia Buniatishvili played the opening chords of the Moderato it was as if I had never heard this concerto before.  The quietly caressed clusters heralded a performance that really did feel revelatory.
Read full review

Bernstein & Mahler – The Times

Alsop drew out its anguished melodic lines with loving care, making its climactic dissonant outbursts all the more startling. Great music, finally; and sterling music-making too.
Read full review (subscription required)

Eisenstein's October with live score – Classical Source

Strobel guided the LSO through the two-hour-long score with great feeling for rhythmic vitality and perfect synchronisation.
Read full review

Bernstein & Mahler – Financial Times

At the end the symphony blossoms in optimism, prefiguring the heart-warming end of Candide. This could be no other composer. Bernstein was a 20th-century one-off.
Read full review

Eisenstein's October with live score – The Arts Desk

Conductor Frank Strobel and a tireless London Symphony Orchestra not only manage feats of near-perfect synchronisation as they illustrate factory whistles with chord-cluster woodwind, marching troops with bow-slapping basses and the tearing-up of railway tracks with anvils; they also pull off the difficult job of keeping a steely clarity in the near-relentless thrashes which sometimes made you wish ear-plugs had been offered at the doors.
Read full review

Bernstein & Mahler – The Arts Desk

Alsop’s vision may have been clear, and beautifully shaped by the musicians of the LSO – strings luxuriating in the lovely melody of "Kaddish II", tuned percussion adding watery translucence to a texture blackened by sooty smudges of brass
Read full review

Adès, Mendelssohn & Brahms – The Observer

the London Symphony Orchestra played Brahms’s Symphony No 2 in D with utmost clarity, musical components fitting one to another with perfect ease and delicacy. You could hear precisely how the work was assembled, how one melodic or harmonic idea related to another, passed between strings and woodwind, timpani or brass. Transparent isn’t a word usually applied to Brahms. It should be. Haitink showed the way.
Read full review

Bernstein & Mahler – Classical Source

The LSO’s Adam Walker turned every mood beautifully, becoming both narrator and victim with unselfconscious identification, and Alsop and the LSO defined the orchestral role, hauntingly enlarged by solos from viola and a distant accompanying flute, with poetic tact.
Read full review

Adès, Mendelssohn & Brahms – Classical Source

Haitink – the master of seeming to do very little yet conjuring so much, the LSO playing like angels (attentive to the smallest detail and to varieties of dynamics) – led a Brahms 2 of notable integrity
Read full review