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Langrée's incoherent but enjoyable program skips through five centuries of music history from Lully to Valerie Coleman. 

Jessie Montgomery's 2016 Records from a Vanishing City enthralls, Barber’s Violin Concerto is exquisite; Schumann's Rhenish disappoints.

Gemma New makes a positive impressive in the Mostly Mozart Festival Orchestra's lively rendition of the “Prague” Symphony. 

The world premiere of Iraqi-American composer Amir ElSaffar's ambitious Dhikra (Remembrance) very nearly succeeds in its ambitions. 

Amid an uncertain future for the Mostly Mozart Festival, conductor Louis Langrée led a fiery program that overflowed with rage rather than grief.

Romanticized but highly enjoyable Mozart performances, monumental Brahms, but more gusto than tenderness characterized the program.

The idea of reframing a warhorse of the classical repertory isn't a bad one. Theatre and opera goers have their modern-dress versions of Shakespeare and Mozart. Why not try it with Vivaldi?

The Mostly Mozart Festival ended its season with an all-Mozart program centered on the Requiem. Paired with that was a piano concerto with Stephen Hough and the rarely-heard Meistermusik.

The program focused on the essential role that Clara Wieck-Schumann had in the artistic development of both Robert Schumann and Johannes Brahms.

A Mostly Mozart concert conducted by Edward Gardner and featuring Jeremy Denk was an excellent example of what this festival is trying to achieve.

Enlightenment indeed at Lincoln Center as the Mostly Mozart Festival opens with a gloriouds hodge-podge. 

Haydn’s late, lofty achievement has the august quality of a masterwork, coupled with cheerfulness befitting a summer series that ends in the month of August.

A blazing performance by violinist Patricia Kopatchinskaja and a mildly disappointing Mozart Requiem round off New York’s annual Mostly Mozart Festival

Now in its fourth and final week, the Mostly Mozart Festival welcomed one of the biggest names on its lineup, Joshua Bell, to Avery Fisher Hall as guest soloist. Music Director Louis Langrée conducted the Mostly Mozart Festival Orchestra in a program of Mozart and Tchaikovsky.

Nearing the end of Lincoln Center’s annual Mostly Mozart Festival – a name that rather allows for just about any programming whim – Friday night was a return to a composer who might more plausibly appear within the programs of a Mostly Beethoven or Mostly Bach festival, but whose presence here was due, one guesses, to his devotion to the concerto genre and to a certain formal elegance in his symph

New York’s Mostly Mozart Festival continued Friday evening with three works, all marvelous and presented in reverse-chronological order. After Witold Lutosławski’s Muzyka żałobna, the orchestra and conductor Louis Langrée were joined by French pianist Jean-Efflam Bavouzet for Bartók’s Piano Concerto no. 3, and the concert concluded with Mozart’s Symphony no. 39 in E flat major.

In their latest set of concerts, the Mostly Mozart Festival on Tuesday presented two works: one largely unknown, the other among the most beloved in the standard repertoire. The first, Luciano Berio’s 1989 Rendering, is fragmented and open-ended. The second, Beethoven’s Piano Concerto no. 5, “Emperor”, about as solid and decisive as they come.

This year’s Mostly Mozart Festival at Lincoln Center opened on Tuesday evening and, to put it encouragingly, there will certainly be room for improvement as the festival continues. (The present review relates to Wednesday’s performance of the same works.

The New York based Mostly Mozart Festival is easily overshadowed by Tanglewood Summer Season at the same time in Massachusetts, but it would be careless to underestimate its quality. The programme on August 5th, 2011 banished any doubt about its ability to live up to world standards.Conductor for the evening was Spaniard Pablo Heras-Casado.