Prokofiev's most profound slow movement has the proper Wagnerian breadth...Litton's work on detail here is unstinting, and it pays off in the whirling dissolve as Lieutenant Kijé, the soldier who never was, is 'buried' in the ingeniously scored suite.

Litton and his orchestra sound nimble, translucent and just a tad underpowered. Then again, with relatively few fluctuations of tempo within the unforced pulse set for each movement, the clarity of the argument is never in doubt.

Melancholy and menace...Litton shows profound sympathy for both of them...The orchestra seems to have flourished durings its decade under Litton: its sheen is seductive, balances and ensemble are expert, dynamics are artfully shaded and the solo parts are delivered with sensitivity and colour...an auspicious release.

This is the best recorded sound this symphony has received to date...Litton knows exactly how to make the most of it, when to dwell on detail and when to propel the argument forward...Litton directs the symphonic suite with a close eye on the rhythmic subtleties of Prokofiev's score.

It’s brave of Litton’s Bergeners to open what one hopes will be a Prokofiev symphony cycle with the unjustly neglected Sixth...Litton makes a strong case for regarding it as vintage mature Prokofiev, and one that reveals a more introspective spirit...A winner.

Litton’s Bergen forces project the score’s steely punch and spare scoring with aplomb...You’d pay full price for the symphony alone. Litton generously provides bonuses in the form of spry, witty performances of the suites...Brilliant BIS sonics add to the impact.