Yutaka Sado to renew his contract as Music Director of the Tonkünstler Orchestra until 2025

Yutaka Sado will remain Music Director of the Tonkünstler Orchestra until 2025. At the annual Tonkünstler Orchestra press conference in Vienna on Wednesday 20 March, Yutaka Sado signed his new contract. The term lasts until the end of the 24-25 concert season. «I’m delighted and I’d like to thank all the members and staff of the orchestra for the trust they’ve placed in me – but especially the musicians who steadfastly believe in our collaboration and want to continue our musical journey together» said Yutaka Sado. After the major success of the «Cosmos ...

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Gianandrea Noseda and Daniil Trifonov for a sensational evening with the National Symphony Orchestra

“It’s nice when a concert feels like an event: the crowded hall, the sense of anticipation. It’s also nice when it lives up to its promise. (…) Beethoven is something of a calling card for Noseda, who gained his first burst of sustained international attention with a BBC Philharmonic recording of the symphony cycle that set records for downloads at the time. On Thursday, he showed the restraint and fluidity of his best work, an instinct for lightness and crispness that the orchestra more or less followed, more or less dutifully. What woke it up, it turned out, was ...

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Daniele Rustioni appointed Chief Conductor of the Ulster Orchestra

The Ulster Orchestra is delighted to announce that Daniele Rustioni will be its new Chief Conductor to succeed Rafael Payare in September 2019. Rafael has collaborated with the Orchestra musicians for these past five seasons to build an exciting level of achievement in Northern Ireland, culminating in this season’s exploration of the large-scale Shostakovich symphonies. Of Daniele’s appointment Rafael said: “I am sure that Daniele is going to have a great time with the wonderful artists of the Ulster Orchestra, as well as with their enthusiastic and receptive ...

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Gianandrea Noseda conducts a new Adriana Lecouvreur at the MET

«That these performances made “Adriana” seem more musically substantial than usual was also thanks to the insightful conducting of Gianandrea Noseda. Cilea emerged during a period in Italian opera, dominated by Puccini, when the public could not get enough of hot-blooded, verismo (essentially true to life) music dramas. When it comes to harmonic daring and subtle manipulations of melodic motifs, Cilea was no Puccini. But without pumping up or milking the music in any way, Mr. Noseda led a vigorous, exacting and pulsing performance, drawing out inner details and ...

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Dal 2019 Donato Renzetti terrà i suoi Corsi di Direzione d’Orchestra presso la Scuola di Alto Perfezionamento di Saluzzo

Obiettivo Orchestra è un percorso formativo promosso congiuntamente dalla Fondazione Scuola Alto Perfezionamento di Saluzzo e Filarmonica TRT. Il progetto, unico nel suo genere in Italia, è finalizzato all’inserimento nel mondo lavorativo della professione orchestrale. Avviato nel 2016 il programma vede coinvolti come insegnanti le prime parti della Filarmonica Teatro Regio Torino. Il successo del corso ha portato alla costante crescita delle iscrizioni e dell’attenzione dei giovani musicisti. Quest’anno il corpo docenti di Obiettivo Orchestra si arricchisce poi ...

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Jérémie Rhorer gagne le défi d’une Traviata sans précédents

«Pour cette nouvelle production de la Traviata présentée au Théâtre des Champs-Elysées, le chef Jérémie Rhorer, à la tête du Cercle de l’Harmonie qu’il a créé en 2005, a suivi une démarche historiquement informée: rétablissement des coupes, instruments d’époque et la à 432 hertz (hz). Le geste est fréquent au sein du milieu baroque où, depuis Nikolaus Harnoncourt - dont Rhorer se réclame -, les interprétations sont le plus souvent respectueuses des conditions de création originelles. (…) Au-delà du diapason, c’est le respect de l’intég...

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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 ...

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Daniele Rustioni returns to the Ulster Orchestra

«The Ulster Orchestra, under the baton of the distinguished young conductor Daniele Rustioni, continued its successful 2018-19 season with music by Busoni, Mozart and Schubert in a well-filled Ulster Hall. (…) Under the direction of Rustioni, this was a stately and measured performance of this truly "great" symphony, which finally burst into life in the finale. Schubert was never a composer to waste a good tune and he repeated the main theme all the way to its triumphant climax, to sustained and deserved applause. The Ulster Orchestra is looking for a new principal ...

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Daniele Rustioni and the Opéra National de Lyon présentent Nabucco à Lyon et Paris

«Les premiers Verdi sont particulièrement difficiles à réussir: fougueux, souvent hautement inspirés, ils comportent quelques pages pouvant parfois paraître un peu faciles ou frustes lorsque le chef et/ou l’orchestre saisissent mal les enjeux esthétiques ou dramatiques des œuvres. Ce n’est pas le cas lorsque Daniele Rustioni est aux commandes: après Attila et Macbeth l’an dernier, ce Nabucco confirme les affinités entre le chef italien et ce répertoire. D’une concentration et d’une implication permanentes, Daniele Rustioni semble habité par cette ...

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Gianandrea Noseda and the London Symphony Orchestra for the World Premiere of James MacMillan’s All the Hills and Vales Along

«A packed Barbican Hall gave a heartfelt endorsement to both parts of this stimulating programme of similarities and contrasts. James MacMillan’s All the Hills and Vales Along is described as an oratorio. (…) Then a blistering performance of Shostakovich’s monumental Fourth Symphony – a work he “voluntarily” shelved in 1936 following his “officially sanctioned” denunciation following Lady Macbeth of Mtsensk. That it only achieved its first performance in 1961 still seems astonishing. The abrupt and unsettling switches of tempo and mood were deftly negoti...

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