Daniele Rustioni makes his debut with the Scottish Chamber Orchestra

«Italian conductor Daniele Rustioni is – at a mere 35 years old – a young slip of a thing in conductorly terms, but in his gestures and demeanour he is really rather old school. Making his debut with the Scottish Chamber Orchestra, he resorted to lots of old tricks to get his chosen sound out of the orchestra, be it pulling faces or rolling his eyes, or crouching to the ground any time he wanted a pianissimo. The orchestra seemed to rather like it, though, and most of them wore broad smiles for much of this concert, always a good sign. He was here to continue the SCO’s mini Mendelssohn series with a high octane performance of the First Symphony (…) it would have been a shame to have let Rustioni go without some Italian music, and he obliged with a sparkling overture to L’Italiana in Algeri which pointed up the dynamic contrasts in the interests of both drama and colour, featuring bouncy strings and gorgeous cantabile winds. Those also featured in Respighi’s first suite of Ancient Airs and Dances, which the orchestra brought to life with delicacy and fine appreciation for the unusual colour palette.»
Seen and Heard International, Simon Thompson

«Conductor Daniele Rustioni is (…) principal conductor at the highly-inventive Opera National de Lyon. He drew from the SCO a concert band performance of this pit classic, with a line-up that was correct for the period, and then appropriately followed by Respighi’s neo-baroque Ancient Airs and Dances. (…) This was Rustioni’s debut with the SCO, but he had clearly developed an instant appreciation for the orchestra’s strengths. (…) Although he observed pauses between the movements, Rustioni was focused on the complete arc of the work.»
The Herald, Keith Bruce

«On the podium was the young principal conductor of Opéra National de Lyon Daniele Rustioni. His was an instantly vibrant presence, a chipper energy that elicited meticulous precision and sizzling clarity in the Rossini. He found new things to say by drawing out unexpected layers of texture, be it a fleetingly emphasised viola line or simply a spontaneous shift in dynamic extremes. In the wake of that, Respighi’s Ancient Airs and Dances, Suite I, acted as a moment of soft-spun respite, its romanticised recasting of the music of the Renaissance and Baroque like viewing the past through a misted lens. Rustioni once again injected respectable life into the performance.»
The Scotsman, Ken Walton