Andrew Litton, conductor
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New York City Ballet

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

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 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

Mr. Litton has rearranged the orchestra's seating to create a new balance of sonority. On Tuesday, Mr. Litton and his players ascended into full view to play this opener (Bernstein's Candide) while the curtain remained lowered; the sound of the rearranged strings and wind sections became all the more exciting. This high-energy overture is, in its way, a good orchestral showpiece - loquacious speed, rattling brio, complex ensemble - though I find it introduces tunes for the first time as if it were reiterating them for the hundredth. This performance suggested that this orchestra's sound is becoming both brighter and fuller. New York City Ballet; Bernstein: Candide Overture; Barber: Violin Concerto; Bernstein: Fancy Free; Gershwin: Who Cares?

— Alistair Macaulay, New York Times

The show was the first performance conducted by Andrew Litton since he assumed the post of company music director. That night - and again during Saturday's matinee - all the colors of Tchaikovsky's enduringly enchanting score were especially robust. New York City Ballet; Tchaikovsky: The Nutcracker

— Brian Seibert, New York Times

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