Here the conductor Brad Lubman particularly shone, with an approach that varied according to the composition. He also helped bring the works of Christopher Trapani and Martin Grütter to prominence, composers over a generation younger.
Frankfurter Rundschau, Bernhard Uske, May 2017
When the lights were on, Brad Lubman conducted with invaluable clarity: sudden moments of silence were electric, his sense of pace impeccable. In light and dark alike, however, the orchestra maintained an astonishing intensity of communication. (…) An enthralling performance.
The Guardian, Flora Willson, April 2017
It is a rare CD that casts a spell over the listener with just the first two chords, as this one does. (…) Under the spirited fingers of piano duo Andreas Grau and Götz Schumacher, and with the razor-sharp attack of the orchestra under Brad Lubman, the piece [Poulenc’s Concerto for Two Pianos and Orchestra] was lively, witty and cheeky.
BR-Klassik CD-Tipp, Thorsten Preuß, March 2017
One despairs that we so rarely get the chance to see Brad Lubman in France. Each of his appearances proves that he is one of the best conductors, with a particular passion for spreading contemporary music and, in particular, the music of Steve Reich; he has performed and premiered nearly all of the composer’s works in the last 20 years.
ResMusica, Thomas Vergracht, November 2016
Director Stanley Kubrick's space-age masterpiece 2001 was always notable for its brilliant cinematic use of music, and hearing the San Francisco Symphony and Chorus perform the score, conducted by Brad Lubman, was sublime.
The Bay Area Reporter, Roberto Friedman, October 2016
Brad Lubman seldom appears in France despite his long experience, significant commitment to contemporary music, and numerous recordings. On this evening we had the chance to see him with the Orquestra Sinfónica do Porto. Conducting without a baton, his gestures were expansive, expressive and clear. He succeeded in accentuating and phrasing the piece as well as in creating a good sound balance. He brought the best out of the ensemble and each individual performer and knew how to make the piece sing and breathe as well as how to bring the orchestra to its highest standard.
musicologie.org, Eusebius, September 2016
The Concertgebouw Orchestra performed rousing and rhythmic numbers, such as Honegger's Pacific 231 and Le Métro by Ibert (...) Conductor Brad Lubman kept things together with panache.
NRC, Joep Stapel, April 2016
It was astounding the way Lubman precisely carved out the different instrumental features in the second part. (…) One can hardly imagine a more intensive live experience of Grisey’s music.
klassik.com, Dr. Stefan Drees, 7 November 2015
Lubman immediately made an impression, leading a powerful rendition of an excerpt from Ligeti's "Atmospheres" prior to the film's opening sequence. And one has to admit, the "Sunrise" opening has never sounded so thrilling as when heard by a live orchestra outdoors with the unforgettable corresponding images on the big screens, validating Kubrick's original vision. (…) Lubman led it [Strauss Jr.’s “Blue Danube”] with considerable sway and grace, syncing with the footsteps of a flight attendant in the film. Same with the Adagio from Khachaturian's "Gayane," given a lovely, patient rendition, and Ligeti's "Lux Aeterna”.
Los Angeles Times, Richard S. Ginell, August 2015
Brad Lubman, who has given the world premieres of many of Steve Reich’s works, devotes himself to a very personal interpretation - within the limits of minimalist expression. He maintains the mechanics of the piece with Ravel-like accuracy, and with the Ensemble Signal he achieves astounding Klangfarben that appear from a movement that is both indistinct and detailed.
Le Monde, Pierre Gervasoni, June 2015
Even if more recordings are released next year to celebrate the 40th anniversary of this work, Steve Reich’s instant classic, none will likely be more sensational than this.
The New York Times, David Allen, May 2015
The superb German Radio Philharmonic had at its helm not just an expert in Brad Lubman but also an excellent conductor for newer music. Where conventional conducting techniques are bound to fail, his conducting accompanied by rational empathy was simply perfect. Bravo.
Saarbrücker Zeitung, Helmut Fackler, May 2015
He [Brad Lubman] is, in many ways, the electric Georg Solti of new music. The performance sizzled. Lubman conducted with insistent gusto and an impressive rhythmic dexterity.
Los Angeles Times, Mark Swed, January 2014