LouisLangrée
Press
New York Philharmonic
David Geffen HallMar 2020His approach — lush, flowing, feeling — revealed its payoff in a spectacular finale that deployed the orchestra’s full sound, with an added organ and bells. It was clear that, in the long arc of this impressively cohesive program, his soft-spokenness had been building toward a climax of deafening grandeur.
- New York Times
- 06 March 2020
Beethoven Akademie 1808 / Cincinnati Symphony Orchestra
Music Hall CincinnatiMar 2020Mr. Langrée brought them [Inon Barnatan and the May Festival Chorus] and the orchestra to a swell at the text’s [Ode to Joy] mentions of art, love and power — insisting, to the end, on the Akademie as a tribute not just to a single composer, but all of humanity.
Mozart & Brahms
Mostly Mozart FestivalJul 2019In catching the symphony’s [Brahms Symphony No. 3 in F major] kaleidoscopic inventiveness—thrashing, delicate, complex, pastoral, titanic, dancelike, joyful—Langrée, with a vast imaginative sympathy, delivered the composer’s essence.
- The New Yorker
- 31 July 2019
The Magic Flute
Mostly Mozart FestivalJul 2019The conductor Louis Langrée draws a lithe, articulate and elegant performance from the Mostly Mozart Festival Orchestra. NYT Critic's Pick
- New York Times
- 18 July 2019
Louis Langrée, conducting the first ever fully-staged Mozart opera in the Festival’s fifty-three-year history, draws a wonderfully supple, elegant and expressive reading of this brilliant and varied score.
- Classical Source
- 17 July 2019
The Mostly Mozart Festival Orchestra — assembled from some of the country’s top musicians — was as fresh, snappy, and inviting as could be imagined. Conductor Louis Langrée — incredibly, in his first outing with this opera — adopted fleet tempos, and nudged the musicians toward elegance and lightness. The rocketing overture alone foretold a night of fairytale exuberance.
- Seen and Heard International
- 17 July 2019
Cincinnati Symphony Orchestra
Music Hall CincinnatiMar 2019Langrée led exuberantly, and gave orchestral soloists the freedom to phrase expressively in the bluesy moments [Gershwin "An American in Paris"]... Just as striking was how Langrée managed to make sense of it all, balancing those moments of quiet serenity until the final, massive onslaught that ended the piece [Varèse “Amériques”].
- Cincinnati Buisiness Courier
- 15 March 2019
Philadelphia Orchestra
Verizon HallOct 2018For most audience members, I imagine, it’s hard to picture this piece [Dukas' The Sorcerer's Apprentice] without seeing Mickey Mouse, but Langrée treated it seriously, drawing richly colored playing in the composition’s distinctive writing for bassoon. The jarring staccato and pizzicato playing in the strings made a nice contrast to the traditionally blended, sweeping Philadelphia sound... Ravel’s sweeping "Suite No. 2" from Daphnis et Chloé concluded the evening on a high. Langrée drew cinematic swells from the strings, richly expressive playing from the percussion section, and an otherworldly contribution from Elizabeth Hainen on the harp.
- Broad Street Review
- 29 October 2018