London Chamber Orchestra

“LCO’s honest vigour and palpable display of enjoyment always refreshed the ears.”
(Geoff Brown, The Times)

For over 100 years, the London Chamber Orchestra (LCO) has established an enviable reputation as an innovative and adventurous ensemble, having premiered works by a veritable Who’s Who of 20^th-century composers, including Stravinsky, Vaughan Williams, Respighi, Delius, de Falla, Finzi, Prokofiev, Poulenc and Villa Lobos. Under the charismatic leadership of Principal Conductor Christopher Warren-Green and with the skills of London’s most exceptional musicians, that reputation still stands today, with premieres by figures such as the late Sir Peter Maxwell Davies, James MacMillan and Graham Fitkin, as well as a host of young composers.

LCO performs frequently with internationally renowned soloists and conductors, who have recently included Alison Balsom, Lang Lang, Pekka Kuusisto, Lawrence Zazzo, Vladimir Ashkenazy, Han-Na Chang, Sol Gabetta, Natalie Clein and Julian Lloyd Webber.

The orchestra’s London season is based at Cadogan Hall. Aside from its national credentials, LCO is also recognised globally, having appeared in concert halls around the world – from La Scala in Milan, to City Hall in Hong Kong, and throughout the Far East, the USA and Europe. As well as recordings for EMI, Virgin and Sony, it has also recorded a number of CDs as part of the‘LCO Live’ series on Signum Records.

“Warren-Green and the LCO provided a light and sympathetic accompaniment and there was an excellent balance between orchestra and soloist. The LCO’s inner strings produced a gorgeous tonal sheen in the opening section of the slow movement before Chamayou entered the fray with a very sincere and heartfelt melody.”

(Seen and Heard International, October 2016)

“Audiences are used to Mozart sounding effortless but here we were given a sense of the subversive streak that sits alongside the charm. Widmann worked hard to expose the beating heart of the piece and the LCO responded with passion.”

(The Financial Times, February 2015)

“Ashkenazy teased every rhythmic detail out of the piece, while the LCO’s playing of the final movement, with the spacious sweep of the violins against the dark intonings of the lower strings, delivered an authentic pulse of inner warmth beneath the music’s forbidding surface.”

(The Guardian, December 2014)

“Widmann worked hard to expose the beating heart of the piece and the LCO responded with passion.”

(Financial Times)