“… Beethoven’s Seventh Symphony, which brilliantly illustrated each movement’s structural force, zapping out the extra stops with judicious timing while integrating striking contrasts between the weighty and the wispy. The players sounded on fire at times and were at one with the podium technically and conceptually. More, please maestro.”

“…the orchestra’s firm grip on rhythm added colour to the lovers’ struggle with paternal dominance and the inexorable march towards their tragic destiny (Butterfly Lovers Violin Concerto).…It has been suggested that under Jaap van Zweden’s stewardship, the Hong Kong Philharmonic could become the “Berlin Philharmonic of Asia”. By demonstrating a strong affinity with Chinese culture, he has found a clear path towards distinguishing the orchestra from many of its counterparts in other parts of the world.”

“The Hong Kong Philharmonic showed concentration, control and resilience, especially on the part of the percussionist, in this careful construction of one drum beat building up to a full orchestra onslaught. No wonder Jun Märkl singled out percussionist Aziz D. Barnard Luce for presentation to the audience at the end.”

“The inner voices among the string sections were lucid, with fine phrasing, especially in the Andante, while the biting finale captured the great composer’s charm and power.”

Oliver Chou, South China Morning Post, April 2012

“De Waart played it (Beethoven Ninth Symphony) down the line with his modern-day resources, the slow movement particularly memorable for some fabulous wind playing, immaculately poised violins and a sustained light, classical touch.”

Sam Olluver, South China Morning Post, April 2012

“ (Tchaikovsky’s Manfred Symphony) I was struck by how crisp he made the strings sound in the first movement, almost to the point of being cold, but I enjoyed the free rein he gave the woodwinds, especially the flute, to parade their full colours in their interaction with the soloist.”

Alan Yu, www.bachtrack.com, March 2012

“(Mozart’s Piano Concerto No.23) The orchestral accompaniment to Mr. Lewis, under the direction of Osmo Vänskä, was in perfect balance with the soloist, tightly grasping the flighty rhythm of this angelic work… The restrained and refined tone of the strings provided a snow-white canvas on which Mr. Lewis delicately overlaid soft pastel patterns, while the flute and clarinets sprinkled embellishing daubs of lustre.”

Alan Yu, www.bachtrack.com, December 2011

“But the concert was best remembered by the Wagner overture. Performed with extra players in all sections, the Phil displayed brilliance and power.”

Dr Oliver Chou, South China Morning Post, November 2011