“Berglund negotiated the transition into the Finale neatly, and thereafter perfectly judged its accumulating drama to create a magnificent life affirming traversal. There have been countless performances of this symphony by the Philharmonia over the years, but this emotionally charged account was one of the most vivid I’ve heard in a long time.”

“Tabita Berglund’s conducting style – alert, encouraging and inspiring – seems to bring out exceptional music-making.”

“… at the helm here was the young Norwegian conductor Tabita Berglund, whose unfussy interpretation held poise and vigour. This is her second appearance with the Hallé, and her smiling warmth matched the Idyll’s radiance perfectly. The boundless energy that underpins her approach was best suited to the Beethoven that closed the concert. […] There was room for a rich Allegretto, too, in as athletic a Seventh as you’ll hear, leaving an appreciative if reduced Manchester audience invigorated.”

“We take advantage of the somewhat disconcerting habit of giving hurricanes personal names to sum up the experience of what it means to see Tabita Berglund direct. Only, in this case, the metaphor alludes only to her overwhelming momentum and energy, without any of the negative connotations […] The result [in Beethoven’s Seventh Symphony] was forceful and jovial, brilliant but without being strident or tiresome […] The orchestra let itself be carried away and excelled at an extraordinary level of virtuosity and good sound. If the reports of the time detail that at its premiere the symphony was applauded to ecstasy, here the audience was able to renew their amazement and enthusiastic ovation.”

“[But] Tabita Berglund managed to give this relatively heavy work new life! Powerful string sound, beautiful woodwind solos, shiny brass instruments […] Certain passages were actually reminiscent of film music, and the experience was completely different compared to hearing the work through the speakers at home – a feat of the young conductor!”