All just my personal opinion
… Right from the beginning of the first movement (Allegro vivace) one could sense and enjoy Norrington’s very detailed dynamics, the clear contrasts, very careful phrasing and articulation, down to individual ornaments — and the joyful playing in general. (…) It was a fascinating concert experience, and a strong, very convincing, compelling interpretation, both on the part of the conductor as well as the orchestra!
… while for the past two decades the artist is mostly pictured with an earnest, maybe “Beehovenian” / titanic, somewhat closed facial expression, in the concert (which he presented with a mostly relaxed, yet controlled body language) his face hinted at a wealth of emotions — and his playing struck me as a prime example of the “big Russian Piano School” …
Mozart: Symphony in B♭, K.22 — comparing recordings with the following artists: Christopher Hogwood, The Academy of Ancient Music (1982) / Jaap ter Linden, Mozart Akademie Amsterdam (2001)
Beethoven: Symphony No.3 in E♭ major, op.55, “Eroica” — comparing recordings with the following artists: Bernstein/New York Philharmonic (1964), Bernstein/Vienna Philharmonic (1978), Böhm (1972), Dausgaard (2006), Furtwängler/Vienna Philharmonic (1948), Furtwängler/Berlin Philharmonic (1952), Hogwood (1985), Kleiber/Concertgebouw (1950), Klemperer (1959), Norrington/RSO Stuttgart (2002), Toscanini (1953), Walter/New York Philharmonic (1941 & 1949), Walter/Columbia Symphony Orchestra (1961), Zinman (1998)
With the entrance of the solo violin, though, the attention turned towards Sophia Jaffé, who presented herself as an experienced, expressive violinist, with a sonorous, full tone, delivering a solid, convincing interpretation.
… it was fascinating to observe how the violin remained audible, kept a clear presence even through minimal, light movements of the bow (…)
In the subsequent Larghetto, the soloist enchanted the audience with the most intimate, whispering tones, played almost sul ponticello, with minute, discreet movements of the bow, merely a hint, but always present, down to the softest ppp and below — one could almost sense the audience holding breath, totally captured by this playing.