Noseda strikes sparks with National Youth Orchestra of the United States of America
[...] The qualities of this year’s orchestra and conductor came together beautifully in the Rachmaninoff symphony. The strings had the rich spread of sound one hears with professional groups, and the woodwinds played with a beguiling clarity and sense of care. The brass had a fine blend, and again the cello section glowed gorgeously whenever their part was prominent.
Most impressive of all was the tremendous passion in the playing. As the developing melodic line rises to its arch shape in the opening movement, the violins played with such enormous feeling that one thought they had reached their limit. Not close. The climactic passage later in the movement pushed even further.
After the rhythmic issues in the Simon fanfare, the Scherzo was confident and built substantial momentum. Contrasts between the fast and slow music were lovely under Noseda’s direction. The Adagio featured a sophisticated clarinet solo and an impressive sense of heartfelt playing with enough wisdom to avoid pathos, even in the soaring peaks in the strings. The finale had good pace without feeling speedy, and had, somehow, even more energy than the previous playing. This was exactly how one wants to hear this symphony, in a notable and refreshing performance.
This earned another massive ovation, which demanded another encore, a limpid and graceful Intermezzo from Mascagni’s Cavalleria Rusticana. Something to lower the temperature but keep things aloft, and with the crowd clamoring for even more, Noseda returned to lead the “Trepak” dance from The Nutcracker.
George Grella, New York Classical Review
[...] With Rachmaninoff’s Symphony No.2 in E minor, Noseda and the NYO-USA hit their stride. Noseda is an energetic presence on the podium and, for the Rachmaninoff, he was at his most exuberant. There was no doubt that the young players would get the notes right, but it was Noseda’s job to draw the maximum depth of emotion from them. He did that with aplomb while also getting a remarkable transparency and depth in their sound: all the more impressive a feat as they have only been rehearsing as an ensemble for a matter of weeks
Rachmaninoff featured solo instruments throughout the symphony, especially in two brooding melodies in the Adagio. The solo clarinet imbued one of them with rich tone and sensitivity, along with the solo horn and flute with their perfectly placed snippets of the tune. Violins and violas caressed the other melody with silken tone and expansive phrasing.
Encores are de rigueur at NYO-USA concerts, and Noseda and the orchestra complied with two popular favorites: the Intermezzo from Mascagni’s Cavalleria rusticana and the Trepak from Tchaikovsky’s The Nutcracker. Tchaikovsky’s tempo marking is molto vivace – prestissimo. Noseda and the NYO-USA may have overachieved in reaching that goal, but it was wonderful.
Rick Perdian, Seen and Heard