What the papers said:

Perhaps the chamber-orchestral scale of Ives’s Third Symphony wasn’t the ideal work for the hall, but there was plenty of subtle colouring and a robust attitude to the composer’s rhythmic interplay in this, his most unprovocative work. There was a dramatic immediacy to American soprano Deborah Voigt’s sumptuously voiced performance of the closing scene from Strauss’s Salome along with an ability to defy the hall’s soloist-swallowing properties in getting both the notes and the words across.
THE DAILY TELEGRAPH

With their clean-cut playing and lucid textures, the San Francisco players gave it (The Ives Symphony) a dewy-eyed innocence, motivated by Thomas with care and sensitivity.
THE GUARDIAN

Whatever the intention, this (Shostakovich) was a super-cool, almost abstract performance, at times seeming uncertain as to its own tone of voice, and at times seeking to reveal more about the character of the orchestra than that of the symphony itself.
THE TIMES