Nezet-Seguin began his very rapid rise through the international ranks by leading the Orchestre Mtetropolitain, which was an unlikely story since the second orchestra of Montreal is hardly known outside its local area. He has been recording an ongoing Bruckner cycle with them, and critics have generally been quite favorable, although for me the readings have had serious drawbacks. The recorded sound isn't one of them; everything sounds natural, clear, and detailed.
But the recorded legacy of Bruckner is now so vast that there are only two choices when it comes to a new reading that falls short of the great ones: either state candidly that it's not a serious rival or give it a free pass. Apparently the second choice is what's been happening with Nezet-Seguin's Bruckner. It is slapdash, energetic, and focused on the moment at hand rather than any overall interpretation. If you want buoyant, light-hearted Bruckner readings, you share the conductor's overall view.
Here, for example, the sixth is marked "majestic" in addition to Allegro for the first movement, but NS gallops off at a lively Allegro con brio, which keeps things moving, but it utterly negates the great brass climaxes that are essential to Bruckner's idioms. Perhaps some kind of HIP influence is at work; we've grown used to Adagio molto markings in Beethoven being little slower than a quick amble to get out of the rain. In the second movement Adagio N-S doesn't push the pace to much, but he remains at mezzo forte and louder all the time, aiming for intensity but achieving little variation. The phrasing is musical and attentive, which is a plus, even though one notices that the orchestral playing, while pleasant, doesn't come within miles of a first-rank orchestra. (The ensemble began in 1980 as an amateur orchestra, according to Wikipedia, but I don't know if it is semi-pro or entirely professional today. The overall execution sounds about the same as a good city orchestra like the Boston Philharmonic.)
In Bruckner one expects deeply expressive interpretations, and by that standard N-S is lightweight. His carefree approach works best in the Scherzo, which is energetic and propulsive. The finale moves steadily forward with minimal rubato and decreased contrast among the various segments. None of what I've described is unappealing, but the whole reading gives little consideration to Bruckner's depth, emotionally or musically.