On November 25th and 26th, Alessandro toured Puglia (Italy) with the Philharmonia Orchestra, performing Beethoven’s Fidelio Overture, Mozart’s Piano Concerto No. 16 and Brahms’s Symphony No. 4.
Both Italian and English press highly acclaimed the concerts.

Ugo Sbisà wrote on La Gazzetta del Mezzogiorno:

[…] Crudele was able to bring out those epic traits that alternate with moments of more quivering passion, without ever overdoing the expressive force.
In short, an intense and luminous Brahms, culminating in the long series of variations on the Chaconne of the concluding Allegro energetico e appassionato, in which the fine understanding between conductor and orchestra allowed the audience to appreciate the very high quality of every single section, starting with the brass and woodwind, of a decidedly ‘stellar’ level.

Michele Traversa wrote on LSDmagazine:

The Philharmonia Orchestra, under Crudele’s expert guidance, did justice to the complexity and harmonic richness of this great work [Brahms’s Fourth Symphony], displaying extraordinary cohesion and finesse. Crudele’s precise and inspired conducting guided his 80 musicians in a high-level performance, enhancing the individual qualities of each musician and crafting an enthralling concert experience.

Jon Jacob described the Barletta concert, dedicated to Carlo Maria Giulini, on Thoroughly Good:

Pianist Martin Helmchen sparkled in Mozart’s breezy piano concerto no. 16, his bright energetic sound complimented with splashes of detail from the woodwind in the first movement. 

Crudele’s disciplined approach pairs well with the Philharmonia’s characteristically reliable rigour.

Finally, there are several enthusiastic quotes from Colin Clarke‘s review on Classical Explorer: 

[…] the Beethoven and Brahms emerged with an invigorating freshness of approach thanks to the direction of the Milanese conductor Alessandro Crudele.

Helmchen and Crudele’s account could hardly be bettered. Miraculously, despite a large string quotient, Crudele ensured lightness and transparency from the orchestra.

[…] talking of togetherness, rarely have I heard the unison horns at the opening of the Andante moderato as if just one instrument was playing, just with a different colour to that of a single horn (and surely this is exactly what Brahms intended).

Brahms’ passacaglia masterclass was given just the right amount of space to breathe by Crudele while allowing the music to flow like Brahmsian lava.

But it was Crudele’s careful preparation for the trombone chorale entry that sealed the interpretation. The brass arrived as if we had been expecting them all the time, a moment of the utmost nobility.