‘Stephen Genz relies on subtle shading, verbal refinement and a lightness of touch to interpret a generous selection of Mahlerian masterpieces’ (Classic FM Magazine)

'Mahler's Symphonies have been recorded by so many conductors—including Lorin Maazel with the Vienna Philharmonic—that it is hard to imagine what new insights further versions might offer. This release of live recordings from Maazel's 2011 Mahler cycle in the Royal Festival Hall finds the Philharmonia, and particularly the brass, in fine form and the recorded sound is bright and spacious, while Maazel sometimes uncovers details of part-writing and orchestration that usually go unnoticed even in these transparent scores … the most successful reading is Symphony No 1, in which the mystery of the hushed opening, the gutsy resonance of the second movement and the frenzied launch of the finale are comparable with some of the best versions' (BBC Music Magazine)» More

'It's wonderfully stylish: that hesitant Viennese-style playing-around and a lovely warm string sound … you get that audience perspective as if you were sitting in the hall, and it's got all the energy and focus of a live or concert recording' (BBC Radio 3 CD Review)

'This is such a shattering performance of this masterpiece that I can only urge everyone to hear it and prepare themselves for an experience quite out the ordinary' (Classical Source)» More

'The result, with the LSO playing with marvellous expressiveness and energy, is irresistible, at once disciplined and joyfully spontaneous' (The Sunday Times)

'Powerfully presented by Gergiev and the LSO, with excellent playing from all sections' (Audiophile Audition, USA)

'Restlessly probing and adrenally free-flowing, pointing up the music’s soul-searching and daring musical juxtapositions. With Gergiev, the music’s emotional subtext comes bubbling to the surface' (Classic FM Magazine)

'Gergiev's epic struggle to transcendence taps into something powerfully, movingly human' (The Times)

'The complex first movement unfolds like a musical pageant and the LSO's playing is first rate' (The Sunday Telegraph)

'I've never heard the opening Pan Awakes music more marvellously vivid ... you won't hear more brilliant playing than the LSO's' (The Sunday Times)

'Gergiev’s Mahler Fourth begins so slowly, you wonder how he can reach the end of the symphony. But gradually, the method behind this apparent madness reveals itself: Gergiev doesn’t play the rustic charms of the opening movement like a memory of Mozart, rather he encompasses a wider pastoral perspective filled with menacing undercurrent … Gergiev’s serene conclusion is beautifully heard’’ (Classic FM Magazine)

'Gergiev’s febrile intensity lends itself well to the neurotic quality of Mahler’s music ... the orchestra is superb' (The Daily Telegraph)