Another central factor has been the contribution of Andrew Litton, who joined the company as music director in 2015. He reached a new peak with the late-May performances of Léo Delibes’s marvelously infectious 1870 score for Coppélia. From the overture – the harmonies for the brass instruments playing quietly, the sweeping, rainbowlike melody for the strings – it was evident that this would be a singularly vivid account. New York City Ballet

— Alastair Macaulay, New York Times


Andrew Litton, who is conducting 10 of the 11 performances, shapes the score marvellously. From individual portamenti to overall sections, he really sets a stamp on the music in a way we seldom hear in ballet. His contribution powerfully enriches a patchy show. New York City Ballet; Romeo and Juliet

— Alastair Macaulay, New York Times


The orchestra, under the baton of Andrew Litton, sounds better than it has in years. He has an interpretation, and the orchestra itself sounds confident and present in the pit, creating a solid platform for what is going on onstage. New York City Ballet

— Marina Harss,


The Russian visitors and familiar New York stars topped their own previous accomplishments, with the conductor Andrew Litton providing firm tempos and lustrous orchestral playing. New York City Ballet: Balanchine’s Jewels

— Alastair Macaulay, New York Times


In his second concert as principal guest conductor, Litton’s intent to connect with the SSO’s principal musicians and to share his love for great American music was evident and well appreciated. This concert reaffirms the sense that his partnership with the SSO is one that will bear great fruit for the future. Singapore Symphony Orchestra; Beethoven: Triple Concerto, Copland: Symphony No 3

— Mervin Beng, The Straits Times


The orchestra, led by Andrew Litton, played beautifully. Usually I carp at ballet orchestras, but under the direction of Mr. Litton, the orchestra has become one of the most distinguished in its field. New York City Ballet: Swan Lake

— Barnett Serchuk, Broadway World


Beyond the usual power and conviction that the SSO often brings in performance, Litton layered in polish, balance and much welcome nuances in dynamics and tempo. If this concert is anything to go by, Litton should be on track for a long and happy partnership with the SSO. Singapore Symphony Orchestra: October/Bartok/Tchaikovsky

— Mervin Beng,


It was, ultimately, Litton’s and the players’ evening. Salome is an enormously complex and demanding score, boasting a gloriously lugubrious heckelphone, semi-crazed xylophone writing, and everything in between. Litton owned the opera’s sweep and architecture, and at the conclusion of a long, arduous season the Minnesota Orchestra honored his 15 years’ service with playing of thrilling commitment and viscerality. He will be a hard act to follow, whatever shape the orchestra’s summer programming (currently under discussion) takes in the future. Sommerfest; Strauss: Salome

— Terry Blain, StarTribune


The New York City Ballet orchestra, under the baton of Andrew Litton, has held up its side of the bargain. Seldom have I heard it play with such focused intensity, such assurance, and such clarity among the individual players, especially true in the chamber-music-like moments in the Fauré. Litton’s interpretation here is infused with a sense of wonder, even rapture. New York City Ballet: Emeralds

— Marina Harss, DanceTabs


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


This is a perfect disc. This performance has passion, color, and drive aplenty. Prokofiev often indulges a deliberate simplicity, and Litton takes him at his word, never for a moment lapsing into artifice or affectation. A wonderful release.  Bergen Philharmonic; Prokofiev Symphonies No. 4 & 7

— David Hurwitz,


Wait till you hear the combination of Litton’s clear thinking and perfect pacing and the orchestra’s razor-sharp response . . . it reminds you why this Litton-Prokofiev cycle has been such a consistent pleasure. Bergen Philharmonic; Prokofiev Symphonies No. 4 & 7

— David Nice, BBC Radio 3


Litton’s mastery shows in the immediate contrasts of broad, epic opening and razor-sharp Allegro mechanics. He never rushes, and allows the theatrical contrasts to speak for themselves. Bergen Philharmonic; Prokofiev Symphonies No. 4 & 7

— David Nice, BBC Music Magazine


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, better known as a conductor, happens to be a first-rate pianist. He is the anchor in a performance of the Brahms Trio that is at once poetic and ebullient, mournful and rollicking. It would be easy for musicians to take such a familiar piece for granted, but not these players. They illuminate the work’s varied moods through subtle shadings and supple phrasing, and they give the last movement’s hunting activity a joyous ride. Inspired, really. Brahms Trio in E-Flat Major

— Donald Rosenberg, Gramophone