Andrew Litton, conductor
Home Biography Engagements Reviews Recordings News Insights Gallery Contact


Most Recent

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

More compelling than the handling of details is Litton's understanding of Rachmaninoff's overall rhetorical architecture--that is, his understanding not simply of the formal layout but of the emotional trajectory that it supports. Litton's is in a class by itself: If you're looking for the Rachmaninoff Second in up-to-date, or even moderately up-to-date, sound, you can't do better than this. Bergen Philharmonic; Rachmaninov: Symphony No. 2

— Peter J. Rabinowitz, Fanfare

The Colorado Symphony is simply radiant. Litton has a terrific sense of rhythm, and the necessary power is all here. I have no doubt this disc will become the new norm for Copland’s ballets. Colorado Symphony Orchestra; Copland ballets

— Steven Kruger, Fanfare

The Rachmaninov is given a glorious performance, superbly played and recorded. Overall, Litton's "Rach 2" goes on the top recommendation list. Bergen Philharmonic; Rachmaninov: Symphony No. 2

— Colin Anderson, ClassicalSource.com

Andrew Litton became music director of New York City Ballet in late 2015. He conducted the entire closing week of the company's spring season - the traditional block of "A Midsummer Night's Dream" performances - and showed all the virtues of his appointment. This was an unusually powerful and eloquent rendition of the music, which is a singular collage of items by Felix Mendelssohn, culled from multiple scores by George Balanchine for his two-act drama. New York City Ballet; Mendelssohn: A Midsummer Night's Dream

— Alastair Macaulay, The New York Times

As conducted by Andrew Litton, the music was newly vibrant: agile in its scurrying, full-bodied in its braying and sweet thunder, hushed in its lullabies. New York City Ballet; Mendelssohn: A Midsummer Night's Dream

— Brian Seibert, The New York Times

Litton and the NSO did the work justice, from the muted tension of the first movement, evoking the frigid winter of that year, to the fast and furious second movement, which grew into an implacable, anxious howl. The fourth movement had a keening English horn solo, the last moment of reflection before the work's clamorous conclusion. National Symphony Orchestra; Shostakovich: Symphony No. 11

— Charles T. Downey, Washington Post

Sort by

 

Most Recent

BBC Philharmonic Orchestra

BBC Scottish Symphony

BBC Scottish Symphony Orchestra

BBC Symphony Orchestra

Baltimore Symphony Orchestra

Bergen National Opera

Bergen Opera

Bergen Philharmonic Orchestra

Bournemouth Symphony Orchestra

Buffalo Philharmonic Orchestra

Chamber Music Concert

Chicago Symphony Orchestra

City of Birmingham Symphony Orchestra

City of London Sinfonia

Colorado Symphony Orchestra

Dallas Opera

Dallas Symphony Orchestra

Detroit Symphony Orchestra

Deutsche Oper Berlin

Dresden Philharmonic Orchestra

English Chamber Orchestra

English National Opera

European Union Youth Orchestra

Indianapolis Symphony Orchestra

Kingston Chamber Music Festival

London Philharmonic Orchestra

London Symphony Orchestra

Milwaukee Symphony

Minnesota Orchestra

Music Academy of the West

National Symphony Orchestra

National Youth Orchestra of Great Britain

New York City Ballet

New York Philharmonic

New Zealand Symphony Orchestra

North Carolina Symphony

Opera Australia

Pacific Symphony

Philadelphia Orchestra

Philharmonia Orchestra

Royal Liverpool Philharmonic Orchestra

Royal Opera

Royal Philharmonic Orchestra

Scottish Chamber Orchestra

Seattle Symphony

Singapore Symphony Orchestra

St. Louis Symphony Orchestra

Utah Symphony

Welsh National Opera