- Utah Symphony shows versatility in return to Carnegie Hall
New York Classical Review
- Tharaud, CBSO, Volkov, Symphony Hall Birmingham
The Arts Desk
- Review: Garrick Ohlsson's "Smetana"
Bill T. Jones/Arnie Zane Company
- Bill T. Jones to receive Washington University International Humanities Medal
Washington University in St. Louis
Julian Wachner, Trinity Wall Street
- Review: Ginastera and Fauré, With a Nod to Prince
The New York Times
- Symphony Review: The Jacksonville Symphony plays a Night of Viennese Bs
The Florida Times-Union
- Seattle Symphony's "Ives: Symphony No 4" with Ludovic Morlot named to Gramophone's top ten Ives recordings
- Evan Rogister to conduct Wagner's Ring at Gothenburg Opera
- JoAnn Falletta Elected to the American Academy of Arts and Sciences
American Academy of Arts and Sciences
- Size doesn’t matter, in works both massive and delicate at Seattle Symphony
The Seattle Times
Conductor is instrumental in concert success
By Catherine Robb
Recently appointed as the BBC SSO’s artist-in-association, on Saturday evening Matthias Pintscher conducted his concert debut with charm and self-assurance.
During his interview in the first half, Pintscher described the orchestra as a delicate instrument in itself – it is evidently one he knows how to play. The orchestra opened and closed as a reduced ensemble, with the sharp and insistent rhythmic sounds of Edgard Varèse. Octandre (1923) and Intégrales (1925), although angular and percussive, were performed with an intimate quality that gave rare melodic passages their own space and the climaxes room for growth. This subtlety was again evident during the performance of Wolfgang Rihm’s Verwandlung 3, which had a Strauss-esque hint, adding to its already philharmonic intensity.
The concert, recorded for Radio 3’s Hear and Now contemporary music composer portrait, not only displayed the technical ability of the SSO, but also showcased Pintscher as an expressive composer. Celestial Object 1 delved into a world of subtle textures, where solo trumpeter Mark O’Keeffe was denied a typical brass-like concerto, and instead interacted with different sonorities and sounds. Transir for solo flute was unremarkably similar: self-indulgent and more gestural than concrete.
Although the evening could have suffered from the slightly disjointed programme, it did not. The SSO emerged with an fluidity which made for an approachable interpretation. Under the baton of Pintscher we were offered a welcome departure from exclusivity and guided through demanding music with an air of modest confidence.