Bergen National Opera
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
From the hushed polyphony of the slow introduction and the combative opening Allegro to a truely exultant finale, Litton and his spruce Bergen orchestra banish any hint of turgidity. Litton's scottish likewise combines verve, textural clarity and a vivid sense of atmosphere...Litton's fresh vivacious performance of the Italian [is] superbly played and recorded. Bergen Philharmonic Orchestra; Mendelssohn: Symphony No. 3, Scottish and Symphony No. 5, Reformation
— Richard Wigmore, Gramophone
According to locals, Bergen...has never before experienced opera at the international level of this Carmen...Good as the singing was, a major share of the credit goes to the Bergen Philharmonic, which played gorgeously under Litton. Demonstrating a thorough command of the inner workings of the piece, Litton often opted for spacious tempos, but they never lacked for dramatic tension.
— George Loomis, Opera