Liszt & Mahler – The Times

'nothing stopped this performance from grabbing our hearts when it really mattered. The result? A standing ovation.'
Read full review

Liszt & Mahler – The Arts Desk

'in the second movement, that passage where the music stops and an ethereal melody appears unaccompanied on the cellos, a moment of real magic under MTT’s baton. By not pushing the climaxes, he gave the LSO brass the space to shine.'
Read full review

Ravel, Dani Howard, Qigang Chen, Stravinsky – The Arts Desk

'The LSO strings rose to every challenge, bringing clarity and focus.'
Read full review

Liszt & Mahler – The Evening Standard ⭐⭐⭐⭐⭐

'That movement’s painful longing felt especially poignant, while the finale exuded carnivalesque vigour. The standing ovation that followed was unanimous, prolonged and utterly heartfelt.'
Read full review

LSO Futures – The Times

'Who wouldn’t want to listen to a kaleidoscope of orchestral detail, and all those beautifully played solos [in Joel Järventausta's Sunfall]? The conductor François-Xavier Roth and the London Symphony Orchestra revelled in it.'
Read full review

Kurt Weill – The Times

'Dangerously pungent brass, bluesy languor, fierce attack, rhythms sharp enough to cause bleeding: these were among the special joys of Weill’s tart instrumental compendium from The Threepenny Opera and that world-weary masterpiece The Seven Deadly Sins, early fruit of his émigré years.'
Read full review

LSO Futures – The Guardian

'...a racy performance of Till Eulenspiegel and an edgy, almost histrionic one of Death and Transfiguration, both delivered with full-spectrum brilliance by the LSO'
Read full review

Kurt Weill – The Arts Desk

'Rattle does grasp that this wicked takedown of the Austro-German canon needs gravity as well as comedy. In the final grand chorale, he emphatically delivered it.'
Read full review

The Creation – The Observer

'Soprano Lucy Crowe, tenor Andrew Staples and baritone Roderick Williams – each great communicators – sang with joyful playfulness, Crowe particularly vivacious as Eve, representing all women with a mischievous eye-roll when pledging “obedience” to Adam. Yeah, sure.'
Read full review

Kurt Weill – Opera Today

'The LSO were crisp and clear, the string playing bright and warm, the whole airy and fresh.'
Read full review

Dvorák, Walker & Schumann – The Arts Desk

'Rattle led us through the contrasting chambers of the piece with a firm architectural hand. His coherent and transparent sense of shape was complemented by poised and lucid playing from the LSO: we heard how each block of sound and theme connects to the next.'
Read full review

Kurt Weill – Evening Standard

'The momentum of the whirlwind tour was admirably projected by Rattle and the superb instrumentalists of the LSO'
Read full review

Berlioz, Hannah Kendall, Sibelius, Bartol, Ravel – Bachtrack

'Needless to say, the orchestra played magnificently for him, not least Peter Moore’s soaring trombone solos.'
Read full review