| Date and venue | Title |
|---|---|
| 21-Mar-2013 Salle Pleyel | Dutilleux, Bartók, Beethoven: Paavo Järvi's night of forgotten masterpieces with the Orchestre de Paris |
 The opening of Henri Dutilleux’s Symphony no. 1, with its distinctive pizzicato opening full of tension and curiosity, opened the concert not with a bang but rather a seductive lure. The gradual building of orchestral forces in the opening movement, demonstrating Dutilleux’s supreme skill in orchestration, was evoked with excellent nuance by the Orchestre de Paris, contrasted with the sultry octave rises in the strings that follow.Read full review... | |
| 27-Sep-2012 La Maison Symphonique de Montréal | James Conlon and Gil Shaham with the Montréal Symphony |
 In recent seasons the Orchestre Symphonique de Montréal has had a tradition of crafting remarkably excellent programs which not only entertain, but suggest a dramatic or historical link between the featured works. Tonight was no exception: it was a program united by dances, by Spain and by Impressionism. Most strikingly, it was an evening featuring brilliant orchestrators.
Read full review... | |
| 15-Mar-2012 Lincoln Center: Avery Fisher Hall | David Zinman's Beethoven Festival in New York Ends with a Solid Eroica |
 There is, nowadays, no one way to play a Beethoven symphony – if indeed there ever was. Just as we today are exposed to the myriad methods of Sir John Eliot Gardiner, Christian Thielemann, Bernard Haitink, and Osmo Vänskä, the supposedly bad old days of the 1950s found space for the very different talents of Wilhelm Furtwängler, Otto Klemperer, Erich Kleiber, and Hermann Scherchen to rub shoulders.Read full review... | |
| 1-Sep-2011 Royal Albert Hall | Prom 62: Magical music |
 The Israel Philharmonic Orchestra knew the difficulties they would face. Accordingly, they kept the proportions of this programme modest out of pragmatism rather than an expectation for encores, as richly deserved as they would have been. Despite security measures on entrance, the disruption started towards the end of Webern's 'Passacaglia' when a coordinated group of anti-Israel protesters stood and started singing.Read full review... | |
