The Seventh created a stampede within the audience and was able to compete with Herbert von Karajan's recording and even brought it down a notch. (Beethoven 7th Symphony) Muenstersche Zeitung, 18 February 1999

 Day trips to the symphonic Olympus. (The entire season 98/99) Leipziger Volkszeitung, 17 July 1999

Absolutely homogeneous, each phrase spellbinding sound . . . highest level of clarity and sophistication. Kurier, Vienna, 15 September 1998

Superior accountability. (Bruckner 'Romantic,' Mozart 'Linz') Leipziger Volkszeitung, 10 July 1999

This man has been performing here forever . . . Herbert Blomstedt together with the Gewandhausorchester Leipzig have been performing music together for, let's say, the past two hundred years at least. One heart, one thought. The clarity in all levels of sound, the tight . . . level of suspense during intermission, the golden, forceful fortissimo. There is nothing that together they cannot achieve.

Blomstedt and the Gewandhaus, a stroke of luck. F.A.Z, 3 September 1998

Highest level of performance, brilliance and richness. Neue Zuercher Zeitung, 7 July 1999

Highly virtuosic and full of youthful energy. Tages-Anzeiger, Zurich, 7 July 1999

All sections of the orchestra are dazzlingly cast. Neue Luzerner Zeitung, 10 September 1998

Cornerstone of the so varied Bruckner reception. (Bruckner 3rd Symphony) Der Standard, Vienna, 15 September 1998

Glance through the 1998-99 season brochure and you will notice that the city of Bach is widening its horizons in other ways . . . Honegger, Nielsen and Boulez have been granted equal billing with Mendelssohn, Bruckner and other 'house gods' . . . Andrew Clark meets Herbert Blomstedt - Financial Times, 8 January 1999

Overwhelmingly melodious sound full of color and force. (Bruckner 'Romantic') Saale-Zeitung, 28 June 1999

Musicians of the highest caliber. Stuttgarter Nachrichten, 29 June 1999

Blomstedt conducts a wonderfully well-balanced orchestra . . . and at the end of the second movement the Bruckner glory was complete. Die Welt, 3 September 1998

A great moment in contemporary music. (Bartók Concerto for Orchestra) Braunschweiger Zeitung, 20 February 1999

Bruckner as it is meant to be. (Bruckner 3rd Symphony) Die Presse, Vienna, 15 September 1998

Stylish level of performance, outstanding brass. Der Tagesspiegel, 25 June 1999

The present quality of the orchestra distinguishes itself especially through the identity of sound. Anzeiger von Uster, 10 September 1998

With the well-balanced and rich sound of the orchestra Blomstedt is able to unleash true intoxication with snappy rhythm, warm cantilenas and proud chorales. Der Standard, Vienna, 15 September 1998

Charming, colorful, sophisticated, silky-smooth. Le Croix du Midid, Toulouse, 6-12 November 1998

Both performances in the sold-out Basilica earned standing ovations and shouts of bravo. (Opening night concert, Rheingau Music Festival 1999) dpa, 30 June 1999

Purely sensuous pleasure. (Brahms 1st Symphony; Conductor: Dmitri Kitaenko) Leipziger Volkszeitung, 25 May 1999

The finale with the macabre sound of the distant orchestra and the sublime force on the stage under Blomstedt's direction becomes a rare experience, so beautiful that it should never end. (Mahler 2nd Symphony) Leipziger Volkszeitung, 24 April 1999

Blomstedt, who creates flawlessly but never perfectionistically, makes an effort to reach the highest sophistication especially with the distinct sound value. The trumpets are truly used just as the dot on the 'I,' insignificant drumbeats suddenly become the Hebrides motif, there are sudden decrescendi looking for their counterparts, not to mention the precision of the winds. Koelner Generalanzeiger, 22 February 1999

Leipzig is reveling as well, but classically restrained, colorful, transparent, light and clear. Westfalen Blatt, Bielefeld, 25 February 1999

The second movement of Sibelius's 2nd Symphony often sounds like a Swiss cheese looks: sticky and full of holes. It is different with Herbert Blomstedt and his Gewandhaus Orchestra . . . The music loses its rigid structure - the rests gain tremendous suspense . . . Probing, hopelessly despairing . . . The Gewandhaus strings play the opening repeats not as a succinct prelude to the introduction of the brass; rather, they stack, push, and create each single note. There is much more than the usual Nordic pastoral setting. A first-class orchestral event - without any maybes. Leipziger Volkszeitung, 6 February 1999