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Fischer gets his orchestra to play with fierce intensity, so that works which usually seem accomplished but conventional take on a fresh complexion. — BBC Music Magazine, April 2010, 5 out of 5 stars More…

Fischer appreciates the importance of a secure bass-line...[he] and his enthusiastic Danish players imbue this youthful music with spirit and energy; they make the most of what's in front of... — Gramophone Magazine, November 2013 More…

Fischer grabs instant attention...turning the first-movement Allegro assai into a curtain-raiser of a kinetic excitement that could have run away with itself. But Fischer is in unqualified control,... — Gramophone Magazine, February 2013 More…

doubts don't seem to trouble Adam Fischer, infectiously alive to interpretative possibilities, a positive feel for style (violins are separated) and a sharp ear for ensemble balance...Fischer's... — Gramophone Magazine, December 2011 More…

The Milan premiere of Lucio Silla, on Boxing Day 1772, was a near-fiasco: ham acting from the last-minute tenor and the prima donna in a sulk. But from the second performance Mozart's second... — Gramophone Classical Music Guide, 2010 More…

Fischer takes on a wealth of memorable competition...Just try the [Haffner] finale's limpid opening and the 'shock-tactic' timpani-dominated onslaught that follows. Exciting isn't the word...There's... — Gramophone Magazine, November 2013 More…

we are on familiar Fischer ground in performances that occasionally feel rather too driven...Fischer's interventions will please or appal depending on whether or not you take to his idiosyncrasies...If... — Gramophone Magazine, January 2014 More…

the resonant acoustic can soak up the oboes and horns in the tuttis. But if you want these symphonies on modern instruments, played with elan, sensitivity (not least in the exquisitely realised... — Gramophone Magazine, September 2013 More…