Beethoven, Shostakovich & Berlioz – Classical Source

Noseda and the LSO surpassed themselves in their openness to Berlioz’s astounding originality, and the playing was superbly idiomatic, with a saturated sound that kept its transparency. Tamestit is the subject of the LSO’s Artist Portrait next season – so that’s something to look forward to.
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Beethoven, Shostakovich & Berlioz – Bachtrack

The poise of the strings’ opening phrases, Trifonov’s subtle touch and the elegiac feeling Cobb brought when the muted trumpet takes up the theme, bestowed a magical benediction.
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Cage, Beethoven & Bartók – Classical Source

Both Julia Fischer’s account of Beethoven’s Violin Concerto and the LSO’s quite superlative account Bartók’s Concerto for Orchestra were streets ahead of any of the many live performances one has heard.
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Mattison, Tchaikovsky & Rimsky-Korsakov – Bachtrack

Cohesive narrative was maintained through persuasively shaped phrasing. Eye contact with the woodwinds – and over-the-shoulder glances at the violins – teased out dialogues, especially in the central movement which took on the quality of intimate chamber music. [Alica Sara Ott] transformed the finale into a playful Scherzo, playing cat and mouse with the orchestra.
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Britten & Mahler – Seen and Heard

I would like to think that had Mahler been a member of the Barbican audience witnessing the supreme musicianship of the LSO under Simon Rattle, he would have been reassured that his great masterpiece had been understood.
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LSO Artist Portrait: Daniil Trifonov Solo Recital – The Guardian

All received revelatory performances, whether in the hyperactive, almost anarchic figuration conjured up in his left hand through the scherzo of Beethoven’s E flat Sonata Op 31 No 3, or the glittering decoration in the Andante Favori
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Stravinsky, Birtwistle & Adams – Sunday Times

This realisation was marvellously lucid. One really could make out the complex vertical goings-on
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LSO Artist Portrait: Daniil Trifonov Solo Recital – Daily Telegraph

Playing a Fazioli instrument, he never made an ugly sound even amid the motor rhythms and fusillades of the finale, and in the central movement he conjured up the innocence of a world lost for ever.
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Britten & Mahler – Bachtrack

At the heart of the movement is the monumental solo horn part (earning principal Timothy Jones a huge ovation), complemented by Mahler's extraordinary ingenious ensemble writing for that instrument. It was simply some of the best horn playing I have ever heard live, recklessly melodic, endlessly colourful, sometimes pillow-soft.
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Ives & Beethoven – Classical Source

The performance was everything one might have hoped.
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Britten & Mahler – The Times

...if you wanted perfection you would have heard it earlier in an astoundingly played and magnificently cogent interpretation of Britten’s early Sinfonia da Requiem.
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Ives & Beethoven – The Times

…the total impact was awesome… Could anyone top that? Send in Daniil Trifonov.
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Britten & Mahler – The Arts Desk

On the eve of Europe Day, with Ukrainian and Maltese violinists on the front desk (the superbly communicative Roman Simovic and Carmine Lauri), it was vital to be reminded that music-making at the highest level is truly international.
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