| Date and venue | Title | Submitted by |
|---|---|---|
| 22-May-2013 La Maison Symphonique de Montréal | Mahler's Fifth with David Zinman and the Orchestre Symphonique de Montréal | Andrew Crust |
 The program this evening was quite significantly lopsided – though most programs containing Mahler symphonies end up being this way. Tonight’s juxtaposition was quite profound, perhaps even more than usual. Mozart’s Piano Concerto no. 18 in B flat major was poised like a pebble next to a mountain. It was a polished pebble, but minuscule in comparison nonetheless.
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| 24-Feb-2013 Birmingham Symphony Hall | Hands-down winners: CBSO Youth Orchestra and Bavouzet triumph in Mahler and Ravel | Katherine Dixson, katherinedixson.co.uk |
 Judging by this evening’s performance, the future of music-making in Birmingham is in safe hands. Following an intensive half-term week’s training, including sectional coaching by musicians from the parent orchestra, 100 eager and accomplished 14- to 21-year-olds brought the Symphony Hall stage to life.
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| 24-Feb-2013 Colston Hall | Sublime Mahler and Penderecki: The Polish National Radio Symphony Orchestra in Bristol | Alexandra Hamilton-Ayres |
 What a concert – the programme and the musicans were sublime. This time, Colston Hall got it spot on with the Polish National Radio Symphony Orchestra. Seeing all of the credits for the orchestra in the back of the programme prepared me for a big and bold sound that was just short of 100 musicians. Each and every one of them contributed to a fantastic sound under the baton of Jacek Kaspszyk.
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| 12-Dec-2012 Southbank Centre: Royal Festival Hall | Jurowski's endgame: Grisey and Mahler with the LPO | Ninfea Cruttwell-Reade |
.jpg) The London Philharmonic Orchestra’s latest “only connect” programme was inspired by its allocated date – 12/12/12. An equivalent numerical repetition will not recur for another century. Furthermore the reversal of the first figure to 21 coincides with the day signalled by the Mayan calendar as a day of ending. In keeping with this apocalyptic vantage point, Gérard Grisey’s Quatre chants pour franchir le seuil (“Four Chants for Crossing the Threshold”, 1996–98) and Gustav Mahler’s Symphony no. 5 (1901–02) were paired to map a journey from the dark abyss into a bright awakening.Read full review... | ||
| 22-Nov-2012 Auckland Town Hall | Magnificent Messiaen and Mahler from the Auckland Philharmonia | Simon Holden |
 Auckland is a good place to be for Mahler lovers at the moment. Following hard on the heels of the New Zealand Symphony Orchestra’s Seventh Symphony, the Auckland Philharmonia brought their interpretation of his Fifth to the same hall. Despite being in five movements, Mahler also designated the work as being in three parts; the first and second movements making up Part One, the long third movement making up Part Two and the fourth and fifth movements making up Part Three.Read full review... | ||
| 9-Nov-2012 Hong Kong Cultural Centre: Concert Hall | Lou Harrison, Henry Cowell and a well-honed Mahler 5 with the San Francisco Symphony in Hong Kong | Alan Yu, alanayu.wordpress.com |
 Faced with ageing audiences, dwindling funding and slashed budgets, many fine orchestras feel besieged at home these days, let alone being able to embark on costly tours overseas – all the more reason why the San Francisco Symphony’s ambitious tour of six cities in Asia is a cause for celebration. The orchestra’s decision to include works by American composers who draw their inspiration from this part of the world is a masterstroke of cultural diplomacy.
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| 12-Oct-2012 Bridgewater Hall | BBC Philharmonic and Juanjo Mena: Mozart and Mahler | Rohan Shotton |
 It must be a strange feeling, sitting down to play a short work while surrounded by empty chairs waiting for a big second half symphony. Tonight Steven Osborne and the modest proportions of Mozart’s orchestra were given the task of invigorating the Piano Concerto no. 19 and avoiding an almost inevitable feeling of it being a pre-Mahler apéritif.
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| 26-Aug-2012 Usher Hall | Budapest Festival Orchestra in triumphant Bartók and Mahler | Jeremy Morris |
 The Budapest Festival Orchestra has played in Edinburgh before to great critical acclaim. Consequently, it was only to be expected that their concert last Sunday would be well attended, despite a late change of soloist. In fact, it was a virtual sell-out and we were not disappointed.
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| 17-May-2012 Southbank Centre: Royal Festival Hall | A Magnificent Mahler 5 from Daniele Gatti and the Philharmonia | David Allen, unpredictableinevitability.com |
 You can, more often than not, tell how good a performance of Mahler's Fifth will be from its opening trumpet call. Here, the Philharmonia's principal, Alistair Mackie, struck just the right balance between stridency and tragedy. Daniele Gatti's direction of this symphony was not, however, one of balance, still less one of compromise. London audiences have heard a lot of Mahler over the last two or three years, but this performance was surely one of the greatest.Read full review... | ||
| 2-Dec-2011 Hong Kong Cultural Centre: Concert Hall | The Hong Kong Philharmonic Orchestra play Mozart and Mahler | Alan Yu, alanayu.wordpress.com |
 I went to the concert with the Hong Kong Philharmonic Orchestra on Friday with some pre-conceived ideas about how they should play the two works on the programme, and came away satisfied that the performance more than met expectations.
Having heard Mozart's Piano Concerto no. 23 in A many times, played by masters of the instrument – Anda, Ashkenazy, Barenboim, Brendel, Horowitz and Kempff, to name but a few – I had high expectations for the soloist for the evening, Paul Lewis.
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| 5-May-2011 Southbank Centre: Royal Festival Hall | Man's music? | Andrew Benson-Wilson |
| The songs of Des Knaben Wunderhorn ("The Youth’s Magic Horn") form the basis for so much of Mahler’s music that it pays to hear some of them alongside a symphony (in the case the well-known Fifth Symphony, in the latest of the Philharmonia/Maazel collaborations). The performances of six of the songs by Sarah Connolly and Matthias Goerne gave a clear idea of the emotional power that they contain. Read full review... | ||
| 7-Apr-2011 Philharmonie: Großer Saal | Purcell and Mahler at the Berlin Philharmonie | David Karlin |
 Last night was my first ever visit to the Berlin Philharmonie, and it couldn't have been more eagerly awaited: if you'd asked me to name the work I most wanted to see here, it would have been Rattle conducting the Berliner Philharmoniker in Mahler 5. But I settled into my seat with slight trepidation: after all that anticipation, what would I write if it wasn't up to standard?
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| 26-Sep-2010 Barbican Centre: Hall | LSO's Pitch Perfect Mahler | Hannah Gill |
 In the second Lord Mayor’s concert held at the Barbican this weekend, the 2010 appeal called for donations for a new initiative called ‘Pitch Perfect.’ This scheme provides opportunities to take part in music and cricket for children in the most deprived East London boroughs, where the LSO is widely involved in community projects.
Music, like sport, encourages participation, and there can be no greater advocate for teamwork than the tightly knit LSO, which, even as its forces swelled to take on the Mahler, lost none of its precision and clarity.
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| 23-Sep-2010 Colston Hall | Death and Spain at the Colston Hall | Kemal Yusuf |
 Alberto Venzago.jpg) As part of this year’s classical season, the London Symphony Orchestra returns to the Colston Hall. Last year they were lead by John Adams, taking us into his explosive Dr Atomic Symphony. This time the world famous orchestra was led by its celebrated principal conductor Valery Gergiev, winner of the prestigious 2009 Royal Philharmonic Society Award for his ‘intensity and passion ... a conductor who makes things happen’ .
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| 5-Aug-2010 Royal Albert Hall | Prom 26: Valery Gergiev conducts the World Orchestra for Peace | Simon Birch |
| If there were to be one orchestra that is essentially a “dream team”, the World Orchestra for Peace would surely be it. Comprising of almost 100 elite players from 33 different countries, the majority of whom hold principle positions in their respective orchestras, I couldn’t help but be excited by the prospect of seeing such a 300-spartans-like ensemble for the first time, under the mighty command of Valery Gergiev.
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