Vladimir Jurowski with the
London Philharmonic Orchestra

The New York Times, March 8, 2010
"After tumultuous and prolonged applause, the orchestra and soloist repeated the final movement in another propulsive blaze of color."
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The New York Times, March 2, 2010
"An ability to invigorate the familiar has helped make Mr. Jurowski, at 37, a formidable presence on the symphonic podium and in the opera pit. Mr. Jurowski and company were in top form."
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Yannick Nézet-Séguin with the
Rotterdam Philharmonic Orchestra

Time Out New York, February 22, 2010
"While his arms are either constantly akimbo with allegro or caressing an adagio, the music starts in Nézet-Séguin's face. He is in the orchestra and of the orchestra, connecting with his players on a visceral level. In the rare moments of pure silence, you can hear him come up for air and take a deep breath before plunging back into the score."
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The New York Times, February 22, 2010
"All eyes were fixed on the orchestra's music director, Yannick Nézet-Séguin, a strikingly gifted young Canadian conductor whose international career has lately assumed a meteoric velocity."
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The New York Times, February 18, 2010
"Mr. Nézet-Séguin has a commanding and kinetic conducting style, complete with leaps and sweeping arm gestures."
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The Chopin Project
Garrick Ohlsson, piano

The New York Times, February 6, 2010
"His excellent interpretations of the Opus 28 Preludes, 24 tiny tone poems of perfect construction and dramatically contrasting character, were memorable, especially his rendition of the Prelude No. 9, played with the requisite nobility; his singing tone in the poetic No. 15; an impressive athletic prowess in the whirlwind No. 16; and a profound solemnity in the funeral march of No. 20."
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Pieter Wispelwey, cello

The New York Times, January 26, 2010
"The most striking aspect of Mr. Wispelwey's Brahms is that it is not about the overwhelming richness of the cello's tone but about shape and intensity."
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Stifters Dinge

Village Voice, December 8, 2009
“Dream-like and contemplative, the experience is an elaborate visual and aural Rorschach test in which the spectator's free-associations create the play in his own head.”
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Pictures Reframed

The New York Times, November 15, 2009
“Brilliant pianism and cool authority… He brought vigor, character and textural transparency to music often subjected to Romantic excess and bombast.”
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Financial Times, November 17, 2009
“Leif Ove Andsnes is a brilliant pianist with a wild imagination, a healthy disrespect for tradition and a technique that makes the impossible seem easy.”
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One Evening and Four Quartets, director Katie Mitchell

The New York Times, December 4, 2009
“An arresting, profound and — despite its modesty — theatrically stunning piece.”
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The New York Times, November 17, 2008
“Ms. Mitchell's artistic daring has steered her into works of brilliance.”
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Angelika Kirchschlager, mezzo-soprano

The New York Times, December 12, 2006
“A big audience loved everything it heard.”
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Pierre-Laurent Aimard, piano

The New York Times, August 11, 2009
“The audience again listened with palpable concentration to a fantastical account of a landmark modernist score... the performance over all was buoyant and exhilarating.”
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Bernard Haitink

The New York Times, October 30, 2009
"As a means of communication, speech may be vastly overrated. Or so you could think, at times, watching the veteran conductor Bernard Haitink rehearse the Juilliard Orchestra... ‘Haitink is unparalleled. You know exactly what he wants just by looking at him. There is a calmness and a presence about his whole physique.'"
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Bernard Haitink with the London Symphony Orchestra

The New York Times, October 26, 2009
“Mr. Haitink remained utterly true to himself, clear-eyed and mindful of detail…a listener felt privileged to have heard it.”
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The New York Times, October 23, 2009
“The Schubert performance was a joy throughout. With some 45 players Mr. Haitink offered a brisk, trim, compact account. The strings produced a warm, rich sound.”
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The Observer (London), July 26, 2009
"This was the Proms at their best: top musicians giving their all in front of a capacity crowd.”
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The Independent (London), July 23, 2009
“Mahler has drawn from Haitink some of his finest work; the LSO has rarely sounded more ideal. At the end the audience wandered out marveling and speechless, knowing they’d never forget this performance.”
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The Times (London), July 22, 2009
“Bernard Haitink was roared on and off the Albert Hall podium by a capacity crowd. Quite right too. He and the London Symphony Orchestra produced a performance of Mahler’s Ninth Symphony that sets the gold standard for this season’s Proms.”
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The Telegraph (London), July 21, 2009
“Of all Mahler’s symphonies, the Ninth more than any demands a conductor who can take the long view, so profound are its philosophical reflections. And among seasoned Mahler conductors none is better equipped in that department than Bernard Haitink.”
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