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Clemens Haustein 


Her conducting is quite similar to Paavo Järvi […]. Just like Järvi, she is rooted to the ground on her pedestal and it seems like no storm could ever move her from her spot. […] she is particularly economical in her gestures and reserves energetic action for just a few, extraordinary moments. Then […] a fierce sound arises from the deepest depth of the orchestra.


Robert Mathew


Tchaikovsky’s Serenade for Strings secured a richly expressive reading under Rachael Young’s baton.


Alexander Chiriac

Even today it is rare to see the conductor’s baton in a female hand, a great pity if this performance was anything to go by. Young’s movements were fluid and almost balletic and she lead with confidence and panache. [...] (The Tchaikovsky)...was also ... (performed)... from the heart, and ended in a veritable storm of applause.

Robert Hughill


The closing pages, as the speeds got faster were anything but a mad scramble. Young was firmly in control and unflappable, bringing the work to a disciplined, brilliant finish. […] In the first movement there was a lovely rich depth to the textures, superb unanimity from the players but without being straitjacketed. […] Young encouraged the players in delivering a rather massive and dark interpretation of the movement.

Johnny Teperman

Together with the symphony orchestra the British/ New Zealand Maestra’s conducting skills shone with compelling understanding of and great dedication to the music, masterly performing each movement with great rhythmic vitality and illustrating beautifully each movements qualities and form. 


In each of the two contrasting works Miss Young ensured the Sinfónica de Chile, achieved the peak of it’s members’ talent and technical ability. 


The performance of both works highlighted how the musicians of all sections of the orchestra responded perfectly to the New Zealand conductor and applause and accolades came from all.

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