Royal Philharmonic Orchestra

'The Royal Philharmonic Orchestra were on impressive form'

The cantata [Beethoven's Der Glorreiche Augenblick - 'The Glorious Moment'], though no lost masterpiece, is well worth encountering. Despite episodes that are rhetorical or even bland, the best of the 40-minute piece expresses the same kind of humane optimism Beethoven would fully explore in his Ninth Symphony. The final section, in which a children's choir and Turkish instruments add to the general rejoicing, achieves a genuine sense of celebration. The City of London Choir and the Royal Philharmonic Orchestra were on impressive form throughout.

'The RPO strings produced real excitement'

'Charles Dutoit's...tenure as principal ­conductor of the Royal ­Philharmonic Orchestra has begun to bear fruit, judging by an evening of Russian music that, after an ­austere start, raised the ­orchestral temperature to boiling point.'

'Dutoit's ­programming of the Symphonies [of Wind Instruments] was admirable and a vote of confidence in his excellent wind sections.'

'Everything came together best...in a hugely effective performance of Scheherazade. The RPO strings produced real excitement in the quicker second movement, and Clio Gould played ­Scheherazade's theme with ever-­changing character throughout. The finale was edge-of-the-seat stuff.'

'There was genuine affection and feel for the sensuousness in the music which made this rendition so enjoyable'

'Charles Dutoit and the Royal Philharmonic Orchestra’s series of Russian masterpieces kicked off with a splendidly taut account of Stravinsky’s Symphonies of Wind Instruments (in its Original Version)...Dutoit drew fine, crisp playing from the RPO members, delineating the contrasting sonorities and varying tempos of Stravinsky’s deceptively complex score.'

'Vadim Repin’s formidable technique needs no introduction. He makes the most difficult passages in Tchaikovsky’s Violin Concerto (once thought unplayable) seem ridiculously easy...Repin’s interpretation was, in many ways, quintessentially Russian. There was an absolute refusal to sentimentalise or hyper-exaggerate, which was laudable, especially in the second-movement Canzonetta in which Repin’s sweetness of tone and firmness of line brought out the song-like qualities of Tchaikovsky’s writing...There was admirably fresh and bright support from conductor and orchestra throughout.'

'Dutoit and the RPO had the full measure of the colourful Scheherazade. Beautifully paced and delicately balanced, Dutoit’s control of structure allowed climaxes to unfold naturally and without exaggeration, particularly towards the end of the exciting finale. There was genuine affection and feel for the sensuousness in the music which made this rendition so enjoyable. There were some outstanding solo contributions from the wind section as well as leader Clio Gould’s warm, expressive violin tone. Her touching solo at the end radiated peace and calm and brought this hugely satisfying performance to a conclusion.'

'Stravinsky, Tchaikovsky and Rimsky-Korsakov began chastely, but rattled through fantasy to sophisticated drama'

'[Vadim Repin's] command of the Tchaikovsky Violin Concerto is so secure...that he had no need of wit or whimsy, manner or sentiment, to reach the listener's heart...His closely attentive ear to the playing of the Royal Philharmonic had a cumulative effect that drew in the audience ever more compellingly. In the finale every player joined the dance with both gusto and meticulously prepared steps.'

'The evening had started with the chaste litanies of Stravisky's Symphonies of Wind Instruments...each voice cunningly placed and poised by Charles Dutoit's baton.'

'...The audience revelled so much in Scheherazade that they applauded between each oriental tableu in turn. Now it was the turn of the RPO's excellent leader, Clio Gould, to become the solo tale-teller. She spun fine golden threads of fantasy for the orchestra to catch.'

'The familiar tinkerings of musicals were too upbeat to resist'

Best of Broadway, Royal Albert Hall, 24 November 2009

'The Best of Broadway night at The Royal Albert Hall was appealing quite obviously for its popular music score. The familiar tinkerings of musicals such as The Sound of Music, Chicago, Phantom of the Opera, The Lion King and Evita were too cosily upbeat to resist.

The four vocalists were charismatic and energetic, the evidence being a hollering, all-standing, all-clapping audience at the finale.

Being in The Royal Albert Hall with such a compliant audience cannot help but put a smile on anyone’s face and that is the talent of the Royal Philharmonic Orchestra.'