"Lehmann, a conductor of punctilious attention to detail and structure, dared to drop passages of sustained pianissimo into those wide open spaces and the music resounded as clearly as any fanfare." - Bachtrack
"Lehmann’s unabashed embrace of old-school concert conventions meant that La Damnation by and large returned to the status of a pageant of luminous vocal, choral and orchestral set-pieces" - The Arts Desk
"The young conductor Jakob Lehmann is becoming one of the marvels of our age. He specialises in period-instrument accounts of early-nineteenth-century music – but what matters more is the sheer esprit he brings to these scores: he plunges, apparently effortlessly, into their nervous systems...Berlioz’s highly original orchestral sonorities and the whole mindset of his music drama sounded more original than ever before in my experience...I hope Lehmann gives us more Berlioz. The originality of this composer – which can elude many – can hit you on many levels: it is there in his instinct for the psychology of his characters, there in his instrumentation, there in the vision with which he depicts the larger world over his characters’ shoulders. So it was in this Prom performance.“ - SlippedDisc
"Lehmann seemed to relish the ability of the orchestra to be quiet, to produce a web of sound. The Dance of the Sylphs was one such moment, where the ravishing orchestral textures made you forget that the movement feels dramatically redundant! There were strong solos too, notably the viola in 'Autrefois, un roi de Thulé' and the cor anglais in 'D'amour l'ardente flamme'. In fact, there was so much orchestral detail that Lehmann and his players held you spellbound." - Planet Hugill
"[Les Sieclés] were conducted by Jakob Lehmann and the performance he helmed was intricate and mostly compelling... Brighter textures built by Lehmann pushed the inner orchestra voices forward."- The Times
"As the evening progressed the young conductor Jakob Lehmann increasingly impressed with his gentle but comprehensive control, notable grasp of the score and his movement which had nothing superfluous or showy but was elegant in its natural simplicity." - Jangeld and Tetchy
"German conductor Jakob Lehmann impressed with his precise control of dynamics and vocalists and his view of the overall structure" - Seen and Heard International
"Against the tenor voice was an orchestral tapestry surely never heard in this piece in this hall before, thanks to conductor Jakob Lehmann’s careful untangling of strands...Lehmann not only excelled on the minute-by-minute level, but also appreciated the narrative trajectory, with tempo changes impeccable... The various distanced effects worked brilliantly, too, and whether delivering flickering half-lights or Infernal revellings, the orchestra never missed a beat" - Opera Today
"Lehmann, who was making his Proms debut, tended to keep things moving, sashaying smoothly between the different sections and ensuring the singers breathing and phrasing were fully supported.“ - ClassicalSource
"Exceptional choral singing, a distinguished veteran cast, fascinating period colours and Lehman’s beautifully stylized conducting told this version of the story in which Faust finds no redemption."- Parikiaki
