CRITICAL ACCLAIM

 

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Under conductor Andrew Litton, the ASO’s playing was full and lush, creating a veritable wall of sound at the symphony’s conclusion.

— Chris Reid, Limelight, May 2023

Litton is a most absorbing conductor to watch, for a start. His gestures are economical, simultaneously aimed at heightened expression and precision timing. But when the big stuff happens, as it repeatedly does in Tchaikovsky, his direction then becomes as commanding as a military general doing battle. In addition to gorgeous arch-shaped melody in this performance, there were climaxes of spectacular energy where Litton let the musicians rip.

— Graham Strahle, IN Daily, May 2023

Litton’s interpretation of La Mer rippled with tension, while La Valse brimmed with misshapen Viennese appeal… Even though Litton was a fill-in, I hope he comes back.

— Zach Carstensen, Seen and Heard International, November 2022

Litton elicited consistently inspired playing in the two Debussy works that occupied the second half of the program… Litton’s gentle, patient pacing and exquisite textural balancing suggested not so much an erotic fantasy enjoyed by the faun as a blissful vision of biophilia as described by the late Edward O. Wilson.

— Thomas May, Classical Voice North America, November 2022

Litton's Prokofiev's fifth was in one piece, with a lot of ripping and tearing. With a clear gesture, agile tempi and a big sound (but never bombastic), he found the balance between shots to put together each movement with the intelligence of an alchemist in the face of the final climaxes (brilliant, especially, the first two)

— Hugo Alvarez Dominguez, La Voz de Galicia, October 2022

Andrew Litton and the Singapore Symphony Orchestra lavish more care and subtlety on these pieces than the quality of invention in in some of the music maybe deserves, additionally flattered BIS’s spacious recording… This is a superior collection for those who relish this lighter, sometimes naughtier side of Shostakovich.

— Bayan Northcott, BBC Music Magazine, August 2022

... Andrew Litton and the Singapore Symphony Orchestra is a lot of fun... Litton directs from the piano, his tight, deadpan playing exactly what the work needs...

— Graham Rickson, The Arts Desk, July 2022

...Andrew Litton also has a feel for the jazz and Broadway sounds of this music, and he has a terrific orchestra in Singapore that seems, chameleon-like, to be able to sound like whatever they are playing in this case they could be a bunch of jazz-influenced Russians!

— American Record Guide, July/August 2022

Andrew Litton brings an American's feeling for popular song and jazz to these rare selections, and as music director of New York City Ballet he instinctively 'gets' the footwork and physicality of the two featured ballets, not least in the keenness of articulation and rhythmic pizzazz that he and the Singapore Symphony bring to them.

— Edward Seckerson, Gramophone, July 2022 Issue

Anyone seeking a small silver lining amid the numerous dark clouds of COVID-19 can take a look (or, better, a listen) to the Litton Duo…[they] have tremendous involvement in all these works and play them with a sure grasp of the music’s style and the level of emotion suitable for Romantic-era conceptions.

— InfoDad

[Andrew Litton] channelled his consummate ballet experience to energize and complement each work with its own natural flexibility and freedom of movement, while cannily holding true to the broader general parameters of dance.

— Ian Julier, Bournemouth SO

Andrew Litton’s Bergen Philharmonic deliver one of the sparkiest accounts of Prokofiev’s ‘Classical’ Symphony you’ll hear on disc. There’s so much to love; the first movement’s tempo beautifully judged, and some terrific flute playing in the finale…Litton’s performance is revelatory…I’d never thought of this as a tuneful work before, but Litton makes it sing, bringing similar care to the concluding sequence of variations. It’s fun, in other words, the symphony’s final bars wonderfully spooky. Symphony No. 3 is another treat, a widescreen spectacular in Litton’s hands.

— Graham Rickson, The Arts Desk

Between 2006 and 2020, Andrew Litton produced in Bergen a complete Prokofiev...which generally now holds the upper hand, especially as the spectacular recording quality is referential... Symphonies nos. 2, 3, 6 and 7 are the summits of this box set, enriched by the three suites of Romeo and Juliet, but also by Lieutenant Kijé, L’amour des trois oranges and LaSuite Scythe.

— Christophe Huss, Le Devoir

Another central factor has been the contribution of Andrew Litton, who joined the company as music director in 2015. He reached a new peak with the late-May performances of Léo Delibes’s marvelously infectious 1870 score for Coppélia. From the overture – the harmonies for the brass instruments playing quietly, the sweeping, rainbowlike melody for the strings – it was evident that this would be a singularly vivid account. New York City Ballet

— Alastair Macaulay, New York Times

Andrew Litton, who is conducting 10 of the 11 performances, shapes the score marvelously. From individual portamenti to overall sections, he really sets a stamp on the music in a way we seldom hear in ballet. His contribution powerfully enriches a patchy show. New York City Ballet; Romeo and Juliet

— Alastair Macaulay, New York Times

The orchestra, under the baton of Andrew Litton, sounds better than it has in years. He has an interpretation, and the orchestra itself sounds confident and present in the pit, creating a solid platform for what is going on onstage. New York City Ballet

— Marina Harss, Dancetabs.com

The Russian visitors and familiar New York stars topped their own previous accomplishments, with the conductor Andrew Litton providing firm tempos and lustrous orchestral playing. New York City Ballet: Balanchine’s Jewels

— Alastair Macaulay, New York Times

In his second concert as principal guest conductor, Litton's intent to connect with the SSO's principal musicians and to share his love for great American music was evident and well appreciated. This concert reaffirms the sense that his partnership with the SSO is one that will bear great fruit for the future. Singapore Symphony Orchestra; Beethoven: Triple Concerto, Copland: Symphony No 3

— Mervin Beng, The Straits Times

The orchestra, led by Andrew Litton, played beautifully. Usually I carp at ballet orchestras, but under the direction of Mr. Litton, the orchestra has become one of the most distinguished in its field. New York City Ballet: Swan Lake

— Barnett Serchuk, Broadway World

Beyond the usual power and conviction that the SSO often brings in performance, Litton layered in polish, balance and much welcome nuances in dynamics and tempo. If this concert is anything to go by, Litton should be on track for a long and happy partnership with the SSO. Singapore Symphony Orchestra: October/Bartok/Tchaikovsky

— Mervin Beng, straitstimes.com

It was, ultimately, Litton's and the players' evening. Salome is an enormously complex and demanding score, boasting a gloriously lugubrious heckelphone, semi-crazed xylophone writing, and everything in between. Litton owned the opera's sweep and architecture, and at the conclusion of a long, arduous season the Minnesota Orchestra honored his 15 years' service with playing of thrilling commitment and viscerality. He will be a hard act to follow, whatever shape the orchestra's summer programming (currently under discussion) takes in the future. Sommerfest; Strauss: Salome

— Terry Blain, StarTribune

The New York City Ballet orchestra, under the baton of Andrew Litton, has held up its side of the bargain. Seldom have I heard it play with such focused intensity, such assurance, and such clarity among the individual players, especially true in the chamber-music-like moments in the Fauré. Litton's interpretation here is infused with a sense of wonder, even rapture. New York City Ballet: Emeralds

— Marina Harss, DanceTabs

Andrew Litton, Tuesday's conductor and the company's music director, isn't invariably a natural accompanist. Mr. Litton keeps raising the City Ballet's orchestral playing. Dance and music meet as shining equals. New York City Ballet; Allegro Brillante, Four Temperaments, Symphony in C

— Alastair Macaulay, New York Times

This is a perfect disc. This performance has passion, color, and drive aplenty. Prokofiev often indulges a deliberate simplicity, and Litton takes him at his word, never for a moment lapsing into artifice or affectation. A wonderful release.  Bergen Philharmonic; Prokofiev Symphonies No. 4 & 7

— David Hurwitz, classicstoday.com

Wait till you hear the combination of Litton's clear thinking and perfect pacing and the orchestra's razor-sharp response . . . it reminds you why this Litton-Prokofiev cycle has been such a consistent pleasure. Bergen Philharmonic; Prokofiev Symphonies No. 4 & 7

— David Nice, BBC Radio 3

Litton's mastery shows in the immediate contrasts of broad, epic opening and razor-sharp Allegro mechanics. He never rushes, and allows the theatrical contrasts to speak for themselves. Bergen Philharmonic; Prokofiev Symphonies No. 4 & 7

— David Nice, BBC Music Magazine

New York City Ballet's four-week fall season has belonged primarily to its music director, Andrew Litton...familiar scores have returned with new immediacy. Details of orchestral phrasing have registered keenly, with a wealth of color; he gives many scores a strong pulse. For years, the best orchestral playing in American ballet has belonged outside New York; but this may well now be changing.

— Alastair Macaulay, The New York Times

Andrew Litton, better known as a conductor, happens to be a first-rate pianist. He is the anchor in a performance of the Brahms Trio that is at once poetic and ebullient, mournful and rollicking. It would be easy for musicians to take such a familiar piece for granted, but not these players. They illuminate the work's varied moods through subtle shadings and supple phrasing, and they give the last movement's hunting activity a joyous ride. Inspired, really. Brahms Trio in E-Flat Major

— Donald Rosenberg, Gramophone