Das ist die Basis, auf der Rattle Bögen zu spannen weiss, welche die Weite dieser Musik ungeschmälert spürbar werden lassen.” Peter Hagmann, Neue Zuercher Zeitung, March 2016, “Was Sir Simon im Graben zaubert, ist die Frucht einer langen Reise mit seinem Orchester durch französische Klangwelten, einer konsequenten Erziehungsarbeit.

Rattle's easy-going tempi put me in mind of Bruno Walter.

Schon im Vorspiel zum ersten Aufzug ist zu hören, wie exakt der instrumentale Satz durchleuchtet und im Inneren belebt, wie also auf fast kammermusikalische Transparenz hingearbeitet wird. | H Rattle, who has been the orchestra’s chief conductor since 2002, will step down in 2018, shortly after he takes up his new post as the music director of the London Symphony Orchestra.”, Click here to read the full story Michael Cooper, New York Times, Sir Simon Rattle takes up the position of Music Director at the London Symphony Orchestra from September 2017, Sir Simon Rattle has said of the appointment, “During my work with the LSO over the last years, I noticed that despite the Orchestra’s long and illustrious history, they almost never refer to it.
UNICEF appointed Rattle and the Berliner Philharmoniker as Goodwill Ambassadors in November 2007. Rattle was also recognized for his passionate efforts in music education. | F

Rattle: A Barbican Music Library Exhibition, Interview: Sir Simon Rattle in The Guardian.

The Gramophone Magazine praised the latter as a "magnificent disc" and drew favourable comparisons with interpretations of the piece by Rattle's immediate predecessors, Claudio Abbado and Herbert von Karajan. For those children who stayed, an unforgettable night with the orchestra.” Helen Wallace, The Arts Desk, June 2016, “Rattle on the podium simply melded into this crowded vision and somehow kept everyone singing and playing from the same sheet.” Jasper Rees, The Telegraph, June 2016, “It’s a work that suits Rattle, with his fondness for drive and detail, uncommonly well. The changes in dynamic were even more marked, from the tiniest hushed passages in the introduction and at The Angel’s last exquisite farewell, to the massive crash of ‘the glance of God’; Elgar’s sudden crescendo/decrescendo moments were even more sharply observed, as were his many sudden brief shifts in tempo and massive allargandos. They were divorced in 1995 after 15 years of marriage. No music fan can be without a set of Beethoven's Symphonies. He had been attracted to the college by the reputation of Dorothy Bednarowska, Fellow and Tutor in English. This was music-making both impulsive and crafted – art music with dirty boots…Rattle gave us a symphony (Brahms no.2) at war with itself, constantly torn between two paths, two instincts. Mark Padmore’s tenor sounds vivid and warm… Florian Boesch sounds sensational… Andrew Staples is very moving in his solos. 25 in C major K503, Berliner Philharmoniker – National Concert Hall Taipei 2005, Sir Simon Rattle & the OAE: Haydn’s Creation, Sir Simon Rattle on his on his appointment as LSO Music Director, LUTOSLAWSKI Piano Concerto and Symphony no.2, RACHMANINOV The Bells and Symphonic Dances, Recital with Magdalena Kozena and Chamber Musicians, Symphonieorchester des Bayerischen Rundsfunk, BBC Prom 48 LSO/Rattle, at the Royal Albert Hall, Review: LSO / Bruckner / Messiaen [DVD/Blue-Ray], Final performance with Berlin Philharmonic, New York, Boston, Toronto, LA, San Francisco, ANDERSEN 'Incantesimi' DVORAK Slavonic Dances, BRAHMS Symphony no.2, Baden Baden Easter Festival and Philharmonie Berlin, Berliner Philharmoniker and London Symphony Orchestra, Philharmonie, Berlin and The Barbican, London, His approach is full of affection…creating a gorgeous warm Romantic glow.

It’s worth saying, that LSO Live have really gone to town on their presentation for this release.” Simon Thompson, MusicWeb International, October 2015, ‘Rattle handles (Schumann Das Paradies und die Peri) with a loving lightness of touch…Mark Padmore’s narration and baritone Florian Boesch make the best impression’ Richard Fairman, The Financial Times, October 2015, “A tender and introspective performance of Schumann’s rarely-heard opera… Only the most callous listener could fail to be moved by Kate Royal, Bernada Fink, Andrew Staples and Florian Boesch’s spellbound quartet.” Gavin Plumley, Sinfini Music, October 2015, “LSO Live have done Sir Simon proud with this new set… Expectations will be high when Sir Simon Rattle rakes over the reins of the London Symphony Orchestra in 2017. During this time, Simon (who became Sir Simon in 1994) has worked with us regularly and was instrumental (excuse the pun) in getting the OAE hired by the world-famous Glyndebourne Festival Opera, where we still play each summer. In 1999, Rattle was appointed as successor to Claudio Abbado as the orchestra's principal conductor. . Mr. The players of the LSO covered themselves with glory, as they had done with the preceding performance of Messiaen’s Couleurs de la Cité Céleste…what Rattle and his players did offer was bright, incisive articulation, razor-sharp precision and exuberant brass evoking the seven angels with seven trumpets of the Book of Revelation vision that inspired the composer.” Barry Millington, The Evening Standard, April 2016, “Last and most imposing of Bruckner’s completed symphonies, the Eighth invites and frequently receives architectural comparisons. As Kožená sang the final word of the phrase ‘Fahr wohl, meine Taube’ in ‘Sie trugen ihn auf der Bahre bloss’ from Strauss’s three Ophelia songs, the note Rattle played matched both the slight vibrato in her voice and her mournful mood. But as this unforgettable account of Brahms’s Piano Concerto No 1 in D minor showed, he and Rattle have forged a very special musical partnership…Following such a titanic concerto performance with lighter weight, pictorial Dvořák was a smart idea as well…Rattle and the orchestra brought them off with tremendous panache, and at the end of such an exceptional concert.” ★★★★★ Andrew Clements, The Guardian, July 2015.

Hell und funkelnd klingt sein „Tristan“ wie die Vorstufe des „Pelleas“, der er ja de facto auch war, bei aller Wagner-Ablehnung Debussys. Berliner Philharmoniker: Artistic direction, Terms of Use As one of our Principal Artists, Vladimir Jurowski has taken us into new territory.
But in moments of repose there were glimpses of the rich orchestral colours, not least in the Andante con Malincolia, that have marked Rattle’s reign with the Berlin Philharmonic.” Hannah Nepil, The Financial Times, July 2015, “If Rattle’s concert last week reinforced expectations of high artistic standards when he joins the LSO, this one will have encouraged those who hope that broadening participation will be similarly high on his agenda. The kaleidoscopic orchestration of L’Arbre des Songes, which takes the enchanted forests of Arthurian legend as a metaphor for human imagination, glowed with a heady intensity…Rattle’s Daphnis, though, a performance of deep sensuality and remarkable rhythmic precision.” Tim Ashley, The Guardian, January 2016, “If the London Symphony Orchestra sounded simply magnificent in this programme of 20th century French music, it was their restraint that caught the ear rather than the demonstration of an orchestral engine at full throttle for which they are justly renowned. The second half of the concert included Images by Claude Debussy, inspired by folk melodies from England, Spain and France, an orchestral triptych iridescent in every conceivable instrumental colour.