Haenchen was blessed with two excellent soloists... Bach's Double Concerto spoke with a fine, rhythmically fluid tone. The wind soloist was particularly impressive.

Memorable moments included... Nigel Shore's breathless oboe d'amore duet flight with alto Sandhoff in "Qui sedes".

The Berlin Oboe Quartet gave a short programme of works by Britten, Coliin Matthews and Richard Rodney Bennett, which was lavishly garnished by Nigel Shore's wonderfully broad oboe sound.

We had an opportunity to hear Nigel Shore in the prominent english horn part. Here his playing was warm and abundantly satisfying.

First and foremost, the lively, supple dialogue between flautist Silke Uhlig and Nigel Shore on the oboe.

The oboist is Nigel Shore, exquisitely lyrical.

Nigel Shore, the oboist, matched an assertive personality with a remarkably defined technique and the full-bodied tone of a young player whose background is British but whose career was built with the Berlin Philharmonic. An name to listen for.

With the middle movement already in a Christmassy 12/8-time, Nigel Shore added to the mood with his melodically interesting shepherd-espressivo.

Top marks for the winds, rehearsed and conducted by Nigel Shore. Rhythmically crystal clear, Stravinsky's Symphonies of Wind Instruments were a pure pleasure to listen to.

I. Stravinsky: Symphonies of Wind Instruments
With the Symphonies of Wind Instruments, Nigel Shore led the young brass and wind payers into Stravinsky's world. Loud applause for the whole evening.

Taken fast and well rehearsed with a Nigel Shore on the podium who took complete control whilst allowing the young musicians their artistic freedom.

Strauss originally composed “Salome” for a 105-piece orchestra. Tulsa Opera used a new orchestral reduction by Nigel Shore for 25 musicians. The orchestra, conducted by Peter Ash, may not have had the strength of numbers, but neither did it sound anemic. The harsh beauties and stern complexities of Strauss’ score were all there, and the balance between the pit and the stage was just about perfect.

This sinister atmosphere was amplified by the precision in the orchestra, reduced skillfully by Nigel Shore to 24 players.

What emerged instead was an unusual degree of clarity- not to mention a built-in balance aid for the singers.

Nigel Shore’s chamber reduction of Strauss’s monumental score gives the music a raw, visceral edge. Every motif, every surge of orchestral colour, is experienced at close range - a perfect match for Oscar Wilde’s once-banned play, whose themes of lust, prophecy and fatal fascination remain as potent today as they were at its scandalous premiere.

Nigel Shore’s brilliantly effective chamber reduction for just 24 players.