LouisLangrée

Press

• New York Philharmonic

  David Geffen Hall

  Mar 2020

  • His 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 Cincinnati

  Mar 2020

  • Mr. 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.

    • New York Times

• Mozart & Brahms

  Mostly Mozart Festival

  Jul 2019

  • In 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 Festival

  Jul 2019

  • The 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 Cincinnati

  Mar 2019

  • Langrée 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 Hall

  Oct 2018

  • For 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