The Four Sea Interludes from Britten’s “Peter Grimes,” Op. 33a (1945) turn out, under Crudele’s direction, to be a coherent descriptive piece, rendered with a rich and varied coloristic range.


The Philharmonia Orchestra conducted by Alessandro Crudele succeeds superbly in a convincing rendering of these magnificent orchestral pieces.

The recording quality is also excellent. This will definitely bring a tear to your eyes on a rainy Sunday morning.


The Britten is a foolproof work, needing only incisive playing and alert direction, both of which it gets here. There are many good readings of this music. Crudele’s hold its own with them.

Crudele arrives at this second recording for Linn Records after an earlier and well-received one devoted to the music of Ottorino Respighi. […] it confirms his propensity toward a refined enhancement of the coloristic texture of the scores he tackles […] Above all, the four splendid pictures that Britten dedicates to the North Sea with an orchestration that is breathtaking in places lend themselves to a spectacular and brilliant tour de force that the Philharmonia Orchestra delivers with maximum transparency and naturalness.

Alessandro Crudele […] is the perfect conductor for Respighi.

Listen to how the London Philharmonic responds to Crudele in the glistening first movement of one of Respighi’s most famous pieces, Pini di Roma (Pines of Rome).

Most impressive, to me at least, is the nocturnal, the third movement, “I Pini del Gianicolo,”

That’s a truly lovely performance, the LPO at their very best. 

So by all means come for the pines, but stay for a trip to Brazil, and to meet Queen Belkis. Remarkably alive performances, carefully sculpted, brilliantly played.

Alessandro Crudele animates the Philharmonia Orchestra to a lucid, finely drawn performance, the orchestral colours glow, images emerge, characters come to the fore.


Crudele has the merit of not ignoring the two-faced nature of the Interludes, treating them as pure orchestral pieces, with all the chisel care that goes with it, but without forgetting their inherent theatricality, marking their evocative charge. […] It is indeed a happy encounter between Alessandro Crudele, who narrates the page in great detail, and the Philharmonia Orchestra.


Also very good is this performance by Crudele, geared to capture the contrast of colors among the four panels with capillary accuracy and an admirable sense of expressive atmosphere, being able to rely on an orchestra of unquestionable value and the remarkable quality of the sound recording.


The “Moonlight” third movement is very beautiful, and notable for its delicacy.

Crudele’s flinking movements are his finest. The fragility of “Dawn” balanced the robust “Storm”. And listen to how, in the latter, Crudele highlights Britten’s many, many felicities of scoring.

Crudele again finds a multitude of touches in the score that so often go under the radar.

The alternating poetry and drama of ‘Dawn’ are memorably captured […].


The depth, clarity and balance achieved here are impeccable and the conclusion is wonderfully released and cacophonous. […] the homogeneity of the string sections and the sonority of the brass are especially impressive but every section of the orchestra is flawless. […] I cannot imagine it better played.

The violin and the orchestra offer a noble sound and a tendency towards symbiotic fusion […] in a sympathetically unagitated and orchestrally transparent manner, until Crudele knows how to let the pack off the leash at the right moment in the finale.

It’s an excellent recording, you don’t miss a detail… it’s a warmer Sunday morning than some but the storm still has vicious teeth.

Crudele already impressed last year on LINN with an energetic Respighi album, and he does not disappoint this time either. His feel for contrasts and his talent for strong effects show him once again to be a very good conductor in the succession of Riccardo Muti […].

All of this is beautifully portrayed by London Philharmonic Orchestra under the young Italian conductor Alessandro Crudele […] The result is exotic, intoxicating and daunting.


A cascading energy and brilliant darts of light suffuse conductor Alessandro Crudele’s view of the Villa Borghese… Textures are light yet pulsating alive, with hyper-alert responses from the London Philharmonic players.

‘Pines of the Janiculum’ has a lissome sensuality, … and in ‘Appian Way’ Crudele cleverly makes the approach of the consular army just as interesting as its arrival, the procession evolving pleasure, not a mindless decibel assault.

Crudele again impresses by giving soloists room to express themselves while also firmly marshalling the big ensemble moments. In Belkis these come in the ‘Danza guerresca’ and ‘Danza orgiastica’, where the LPO dispatch the complex syncopations with bracing accuracy.


[…] it is the writing qualities of the Pini, Respighi’s refined Roman poem, that suggest a reading of incisive beauty. Without rhetoric, without yielding to easy “ponentine impressionism”; rather with an attention to the so different hues in each number and the original authorial instrumentation. Original in that it never ceases to suggest unexpected perspectives to performers who, like Crudele, know how to read it with humble but mature and precise expressive tension and poetic levity.

Here, then, is Alessandro Crudele’s debut disc, at the helm of the London Philharmonic Orchestra, which, besides being a great listen, goes some way towards filling a gap. And above all, it does so with great class. Crudele’s Respighi is colourful and virtuoso, imaginative and iridescent. […] This is helped by the orchestra, which has flexibility and plenty of quality to spare. And what you hear is thus a Respighi who combines a lucidity of radiographic analysis with a springy discursiveness.


Here, Alessandro Crudele is a truly expert administrator who works with a sure instinct and resists the temptation to run after the flashy effect by applying too much colour.

Italian conductor Alessandro Crudele knows this soundworld inside out. With his skillful London orchestra, he never slips into the easy spectacle, so as to showcase all the colours and feelings which this music provides.


Brazilian Impressions is given a persuasive reading, the slithering clarinets and bassoon eliciting a shudder in the central movement, which depicts the collection of venomous snakes Respighi encountered on a visit to the Instituto Butantan in São Paulo.

Crudele elaborates the quiet, sensual and exotic aspects of this music better than Muti, more convincingly. […] Thanks Linn for this fine album!

You might want to sample a new recording of Ottorino Respighi from the London Philharmonic conducted by Alessandro Crudele. Respighi’s Pines of Rome is the big hit here, but the other two pieces are major reasons to investigate I think – comparative rarities: Brazilian Impressions and Belkis, Queen of Sheba, one of Respighi’s last major works for enormous forces. The four-movement suite from Belkis draws outstanding playing from the London Philharmonic Orchestra conducted by Alessandro Crudele.

Mozart’s Horn Concerto proved to be […] a balm for the corona-afflicted soul. The Orchestra and Alessandro Crudele gave the soloist every space to unfold.

The Württembergische Philharmonie had already shown itself to be flexible in the Czech Suite.

The orchestra presented itself full of temperament here, with first a glowing entry of the cellos.

After many Rubato and Stretta-developments, the whole thing came to a convincing end, lived out in dance contrasts and once again pulling out all the registers in terms of sound.

Alessandro Crudele was convincing with his elegantly moving conducting.

With Zoltán Kodály’s “Dances of Galánta”, the orchestra showed that it has not lost passion for playing. Under the baton of Alessandro Crudele, the Hungarian dances, which alternate between suspenseful calm, expressive wind solos and wild ecstasy, became an orchestral feast of shimmering rhythms and colors, crowned by a furious finale.

Crudele conducted with generous impetuous and an elegant gesture, calmly humorous.

Delight for the ears of the historically-informed performance lovers

Was it because of the hall? Was it because of the conductor? The orchestra that we well know sounded differently, as if it had jumped to a higher level.

Long cheers of applause for the soloist, the conductor and the Orchestra ended this Operngala, charming in all aspects.

Sometimes some concerts win us over from the first beat. Such a case occurred at the last concert of the Radio Television Symphony Orchestra of Serbia, conducted by Italian conductor Alessandro Crudele. […] The orchestra clearly responded well to the Italian conductor, who, especially from Bottesini and Dvorak’s units, managed to create striking and eminently edgy ensembles. It was a successful concert with two prominent soloists, a well-rehearsed orchestra and an outstanding young and talented conductor.

With clear gestures of his left hand he showed the musicians what he wanted. This resulted in beautiful interpretations. […] The tranquillity in the second movement of the symphony [Brahms 4th], the fire in the third, revealed him as a master of his field. […] Alessandro Crudele conjured up a beautiful Mozart with historic reminiscences.

… and this, all the more with this charismatic conductor on the podium! It was a truly astonishing interpretation – and yet without any trace of showmanship.

In the second part of the concert, Mendelssohn’s Reformation Symphony No. 5 (1830), […] turned out to be another gem of this musical evening. […] Alessandro Crudele also took the most powerful, and at the same time, the most sensitive features of the RTS Symphony Orchestra, appealing to both dimensions equally.