From the desk of Gianandrea Noseda, Music Director, Teatro Regio Torino

From the desk of Gianandrea Noseda, Music Director, Teatro Regio Torino After yesterday’s resignation of Walter Vergnano, Sovrintedente of Teatro Regio Torino, I would like to make clear that I did not resign from my position as Music Director of the Teatro Regio Torino. Under the present circumstances, I encourage the board of the Teatro Regio Torino and its president, Chiara Appendino, the mayor of Torino, to appoint a strong general manager who will be able to resolve the serious difficulties facing the theatre. I must thank everyone at the Teatro Regio Torino ...

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Das Staatsorchester Stuttgart mit Daniele Rustioni in der Liederhalle

«(…) Die Arabesken, Girlanden und Kaskaden des Orchesters schillerten hier dank Daniele Rustioni und dem Staatsorchester Stuttgart in den hellsten und leuchtendsten Farben. (…) Eine exzellente Wiedergabe bot das Staatsorchester Stuttgart unter der impulsiven Leitung von Daniele Rustioni schließlich bei Gustav Mahlers erster Sinfonie in D-Dur „Der Titan“. (…) Daniele Rustioni heizte hier die Glut immer weiter an. Die lodernde Erregung wurde durch das zweite Thema in den Violinen noch weiter gesteigert. Nach sehr ernster und erregter Auseinandersetzung mit dem ...

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Jordi Savall gastiert mit grandioser Interpretation von Bachs Musikalischem Opfer in Arnstadt

«Es war ein äußerst würdevoller Schlusspunkt der Thüringer Bachwochen, der am Samstagabend in der Bachkirche vom „Concert des Nations“ unter der Leitung des Gambisten Jordi Savall gesetzt wurde. (…) Jordi Savall an Alt- und Bassgambe sowie seinen Mannen Pierre Hantai am Cembalo, Marc Hantai an der Querflöte, Manfredo Kraemer und David Plantier an den Violinen, Balázs Máté am Violoncello und Xavier Puertas an der Violone schafften es, die überwältigende Musik des „Musikalischen Opfers“ so eindringlich zu interpretieren, dass sie völlig neu belebt ...

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Raphaël Pichon mit seinem Ensemble Pygmalion in Caen mit Bachs Johannes-Passion

«(...) Pichon ist nach Marc Minkowski der erste französische Dirigent, dessen Bach-Deutungen mit denen von Nikolaus Harnoncourt, Philippe Herreweghe und John Eliot Gardiner konkurrieren können. Und mehr noch: Pichon ist der derzeit spannendste und visionärste unter den Bach-Dirigenten. Mit lässiger Selbstverständlichkeit kombiniert er die Lehren des von ihm als Guru verehrten Harnoncourt mit einer romantischen Klangsinnlichkeit, die auf Empfindungstiefe zielt, auf Meditation, auf unbedingt Existenzielles. Das hat er mit seinen Einspielungen der vier kleinen Bach-Me...

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Karen Durgaryan makes his debut with the Pomeriggi Musicali and violinist Francesca Dego

«(…) qui interveniva la sorpresa della serata, il direttore armeno (a me completamente ignoto prima di ieri sera) Karen Durgaryan, che — senza podio — mostrava un dominio della partitura fin nei minimi dettagli, un’attenzione continua alla solista, che sapeva sostenere e spronare, ispirare e aiutare: ossia, l’ideale per un direttore di un concerto solistico. (…) E il terzo movimento trovava, grazie alla violinista lecchese e al direttore, un carattere aereo, luminoso, giocoso, con un’ammirevole precisione di tutta l’orchestra (cosa non così comune ai ...

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Jérémie Rhorer makes his successful debut in Italy with the production of Les Dialogues des Carmelites at Teatro Comunale in Bologna

«Ammalia anche la musica in quest’opera. Ti risucchia nelle sue stagnanti acque paludose che rievocano il “motore” immobile debussiano (…) Dal podio Jérémie Rhorer le confeziona con sensibilità.» Il Corriere della Sera, Enrico Girardi «Jérémie Rhorer, il direttore, una scoperta da riascoltare anche in stagione sinfonica.» La Repubblica, Luca Baccolini «Convincono al Conunale di Bologna la regia asciutta di Olivier Py e la direzione di Jérémie Rhorer. (…) Tormenti e dubbi che sono poi quelli del Novecento, di cui la musica di Poulenc è ...

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Gianandrea Noseda and the National Symphony Orchestra presented The Gospel according to the Other Mary by John Adams

«Yet this piece worked for me Thursday as it hadn’t on recordings, and I was shocked when the music ended to see that more than 2½ hours had passed (…) The biggest reason for this was Noseda, who, in the absence of a clear narrative, took hold and found one himself. It was an impressive, dramatic and passionate performance from the new music director of the NSO, who deserves a lot of respect: To agree to undertake an unfamiliar piece in a repertoire you’re not associated with as one of the biggest projects of your maiden season shows a striking open-mindedness, and ...

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Daniele Rustioni and Alexander Toradze together for a great success with the RTE Symphony Orchestra in Dublin

«Shostakovich’s Second Piano Concerto turned 60 last year. The age matters, because it’s often described as the last piano concerto to have entered the general orchestral repertoire. (…) It could be fairly said that it is designed to make players sound better than they are. And the delight of last Friday’s performance by Alexander Toradze with the RTÉ National Symphony Orchestra under Daniele Rustioni was that it did exactly the opposite. It made the piece sound much better than it actually is. Toradze’s approach was to ignore all the music’s invitations to ...

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Gianandrea Noseda and Stefano Poda again together for a new Turandot at Teatro Regio Torino

«La nuova Turandot in scena al Regio di Torino è uno spettacolo che nasconde la propria complessità concettuale dietro un’elegante messa in scena onirica (…). Si esegue l’opera fin dove Puccini la compose, valorizzandone l’incompiutezza. La scelta si deve al direttore Gianandrea Noseda. Forte anche di un cast ben assemblato (…) questi concerta un’esecuzione accurata, priva della spavalderia che spesso mortifica la ricchezza lessicale pucciniana. Non mancano effetti (…) ma è una lettura seria, approfondita e, benché per Noseda si tratti di un debutto, ...

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Yutaka Sado makes his overdue American debut with the NSO

«Leonard Bernstein had a number of students, but in this year of his centenary, there may not be many of them left unknown. However, Yutaka Sado is evidently one of them, at least in this country. His performance with the NSO on Thursday night at the Kennedy Center was his debut not only with the orchestra — even though he was an assistant to Bernstein and Seiji Ozawa, and has a thriving career in Europe and Asia — but in the United States. This is all the more striking since the performance revealed him to be a conductor of great assurance and showmanship — ...

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