Antonello Manacorda - conductor
De Gelderlander, 26 November 2011
The magic between the orchestra and the new chief conductor is complete. In this complex music they saw eye to eye in complete commitment and trust. An important starting point is that Manacorda had a strong grip on this complex music and communicated this in abundance. From minute to minute and sometimes even from second to second, the Maestro invited musicians and listeners to set foot in a constantly changing landscape. From the first moment his approach was characterised by strong tension. Manacorda conducts with strength but also gracefully and with natural balance. It was a true pleasure for the eyes. His incredible energy was absorbed by the musicians effortlessly. Every section of the orchestra demonstrated a high degree of focus and concentration. This was a top level performance characterised by an abundance of colours and general transparency. In some moments one had the impression of listening to a chamber music performance and the following moment one experienced a cathedral of copper sounds.
Telegraaf, 26 November 2011
The musicians of the Gelders Orchestra didn’t hide their enthusiasm with their new Chief Conductor… Manacorda showed a strong affinity with Mahler’s language… An atmosphere of mutual scrutiny led to an intelligent achievement.
NRC Handelsblad, 28 November 2011
Most extraordinary is that Manacorda has a strongly personal approach towards Mahler’s Seventh Symphony, as he sees it as a celebration of life after death. Impressive expressions with a determined sound celebrate the high point and the Symphony ends triumphantly with an exuberant medley of sounds.
The Sydney Morning Herald, 03 July 2010
Peter McCallum
The conductor, Antonello Manacorda, led Stravinsky's Concerto in D for string orchestra with gestures that were polished and economical. Stravinsky's obsessive games with the formulaic elements of 19th-century style came together as a sophisticated and lively statement...
MusicalCriticism.com, 29 June 2009
Mike Reynolds
For their appearance at this year's Aldeburgh Festival, the Britten-Pears Orchestra put in several days work with the young Italian guest conductor Antonella Manacorda (including a Sunday morning open rehearsal) and then played a stunning concert in a packed Snape Maltings on the Monday night… By this stage – the players clearly loved Manacorda and he them – the fun element of making fine music was much in evidence, and Ravel's 'feet off the ground' orchestration was heard in all its subtle glory. Manacorda is a founder member of the Mahler Chamber Orchestra and his skill at bringing out the various elements in an ensemble of the size and quality of the BPO was much in evidence. But their response to him was heart-warming: there is perhaps an emerging collaboration here which I for one will follow with great interest. A fabulous concert.
(Britten-Pears Orchestra, Haydn/Webern/Bartok/Ravel)
Il Cartellone, 7 July 2008
Edgardo Bellini
La prima buona sorpresa la regala il giovane direttore Antonello Manacorda, autorevole spalla della Mahler Chamber Orchestra, da qualche tempo dedito anche alla conduzione. Con gesto preciso e scattante Manacorda guida l’orchestra a un rigore di suono e di finezza esecutiva ragguardevoli; e anche se il rinomato “crescendo” del pieno orchestrale resta un po’ sacrificato dall’acustica all’aperto, non sfuggono all’ascoltatore attento l’accuratezza delle scelte musicali e la padronanza della partitura.
(Il Barbiere di Seviglia, Teatro San Carlo, Naples)
Il Paese, 25 January 2008
Carlo Rezzonico
Dopo la pausa la prima sinfonia di Beethoven ha provveduto a rinfrancare l’animo, tanto più che il Manacorda, il quale si è rivelato un direttore dalle idee chiare e dal temperamento forte, ne ha dato una interpretazione sprizzante energia, nerboruta, tutta protesa a conferire risalto agli elementi già tipicamente beethoveniani. Nonostante l’impeto e lo slancio l’esecuzione è stata precisa, tersa, godibile in ogni particolare, non da ultimo grazie alle prestazioni di un’orchestra in forma smagliante.
(Orchestra della Svizzera Italiana, Beethoven Symphony No1)
[After the interval, Beethoven’s Symphony No1 further enlivened the concert. So much so that Antonello Manacorda, who revealed himself to be a conductor of clear ideas and strong temperament, gave an energetic and muscular performance – typically Beethovenian style. Despite the energetic, strong driving qualities, the performance was precise, clear and enjoyable in every detail. Thanks also go to the orchestra which was in sparkling form.]
Arbetarbladet, 10 October 2007
Bodil Proos
…Och orkestern fick till en strålande version av verket. Manacorda dirigerade med styrka och pondus. Det var nästa så att han försökte gräva upp musiken ur marken och lyfta den till högre höjder.
(Gävle Symphony Orchestra, Brahms Symphony No.4)
[And the orchestra gave a brilliant rendition of the piece. Manacorda conducted with power and emphasis. It was as if he tried to dig the music out of the ground and raise it to a higher level.]
Il Gazzettino, 25 May 2007
Mario Messinis
Antonello Manacorda esprime, nell "Incompiuta", una lezione di stile. Finalmente si conosce non un direttore-esecutore (figura molto diffusa oggi), ma un direttore-interprete. Si è affascinati da uno scavo sinfonico che va alle radici del pensiero di Schubert. La premessa di questa versione è cameristica: pare di sentire la voce dei tardi quartetti che sarebbero stati scritti qualche anno dopo (l'"Incompiuta" è del 1822), nel segno di un notturno intimismo. Il memorabile secondo tema liederistico suona con levigatezza introversa, senza esibizioni melodiche. Ma nelle accensioni dello sviluppo Manacorda esalta le nervature sinfoniche con un'idea orchestrale intensamente tragica, così come esige questa sinfonia.
(Orchestra del Teatro La Fenice, Venice)
[In Schubert’s ‘Unfinished Symphony’, Manacorda gave us a lesson in style. He did not simply direct the music, like so many seem to do these days, but he interpreted it. The audience was fascinated as he dug into the roots of Schubert’s thoughts. Manacorda took a ‘chamber music’ approach to this work: one could sense the voices of the late string quartets which were written a few years later. The memorable second theme had an inward-looking smoothness, without any touch of melodic exhibitionism. But as the development section erupted, Manacorda proclaimed the foundation of the symphony; intense tragedy - exactly what this symphony demands. ]
La Repubblica, 27 January 2007
Angelo Foletto
Dalla consapevolezza musicale, è scaturita limpida sicurezza direttoriale: efficace nell’ottenere disciplina e fervore dall’orchestra dei Pomeriggi Musicali, e nel far respirare un’interpretazione schietta.
[From his musical understanding came a stream of clear, secure direction: effectively creating discipline and fervour in the orchestra, and producing a sincere interpretation.]
Corriere della Sera, 28 October 2006
Gian Mario Benzing
Con un gesto che a ogni frase sembra cercare tutta l’orchestra come un solo strumento.
…Manacorda trova gli affondi spirituali più toccanti e forte-piano mozzafiato, resi più vivid a un’orchestra agile e affilata: “vibrazioniu” nuove, per una stagione che parte in ascesa. (I Pomeriggi Musicali, Milan, Mozart)
[He makes every phrase reach right into the orchestra, as if it were one instrument. …Manacorda finds rarely-reached depths and a breathtaking forte-piano dynamic. He makes the orchestra sound more alive and sharper: it’s a new sound from this orchestra who are on the up this season.]
La Repubblica, 29 October 2006
Angelo Foletto
… l’istinto musicale fine e il gusto incisivo del neo direttore musicale di Pomeriggi s’è svelato con brillante intensità nell’oratorio Davide Penitente di Mozart, sorta di parafrasi dell meravigliosa Messa K427.
(I Pomeriggi Musicali, Milan, Mozart)
[The new Music Director of I Pomeriggi revealed fine musical instinct and an incisive approach in Mozart’s Davide Penintente oratorio]
La Repubblica, 24 June 2006
Angelo Foletto
…Antonello Manacorda ha dato un´interpretazione di fervida freschezza e belle tinte cinerine. … Di ciò s´è mostrato persuaso Manacorda che ha ottenuto della sua orchestra dei Pomeriggi Musicali (non aiutata nella resa acustica dalla posizione poco raccolta) vivacità e trasparenza.
(I Pomeriggi Musicali, Teatro alla Scala, Paisiello’s Il Barbiere di Siviglia)
[Manacorda delivered an interpretation of fervid freshness and beautiful colour. He proved himself to be persuasive, in creating liveliness and transparency in the orchestra, which was not easy given the difficult acoustic.]
Helsingborgs Dagblads, November 2005
Henrik Halvarson
The concert's second half was stirring and intense. Right from the first chord of the overture Russlan and Ludmilla by Glinka, Manacorda showed that it was the music which was fundamental [this evening], the joyful experience of rhythms, melodies and harmony combining in a thrilling ensemble. One of Jean Sibelius' least well-known tone poems inspired by the Kalevala was the perfect way to follow this; Leminkainen and the maidens on the island. The longing in the music's constant surging was irresistible: one could tell that the conductor had studied at the Sibelius Academy. The icing on the cake was the overture to Rossini's William Tell, which ended the concert with a languishing cello solo and ringing fanfares.
(Helsingborg Symphony Orchestra, Sweden)
La Stampa, 12 April 2005
Paolo Gallarati
Il gesto è molto espressivo, unisce prescisione ed evidenza; ottiene dall’orchestra trasparenza e nitore; rende vivo ogni particolare e ben tesa la forma musicale. L’ascolto, cosi, risulta avvincente perché sollecitato, come deve essere, da un senso di continua sorpresa.
(Archi Chamber Orchestra, Turin)
[His gestures are very expressive, combining precision and clarity: he gets a transparent and clean sound from the orchestra. He brings every little part of the musical structure to life. The result is quite astonishing, creating a continual sense of surprise,
