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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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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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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Britten, Fauré & Dvorák – Bachtrack ★★★★

'Toes were tapped, cymbals crashed the final furiant with abandon, followed by an audience roar. It was good to be back.'

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

'The applause was loving, sustained, emotional, and it came from all three tiers of the Barbican concert hall'

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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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Vaughan Williams & Britten – The Times ★★★★★

Under Antonio Pappano you could feel the ancient weight of flying buttresses and, in the pale sound of the distant nonet, sense the dance of dust motes in the light of clerestory windows. With fearless solo playing from every section of the orchestra, this performance was magnetic and disturbing.

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