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Italy’s unsung cultural hub.
With its flourishing cultural scene including a thriving opera house, Turin is a city that deserves a place near the top of anyone's musical must-visit list, as Jeremy Pound discovers. [...]
[Jeremy Pound, BBC Music Magazine, February 2013]
Session report. Villazón records Verdi.
[...] «The Teatro Regio orchestra feel Verdi in their blood. And nobody makes the orchestra cry like Verdi». (Rolando Villazón) [...]
[Richard Lawrence, Gramophone.co.uk, January 2013]
A deluge of ovations at La Scala for “Luisa Miller” and an intense Leo Nucci
[...] Above all Gianandrea Noseda steered the ensemble under his experienced, careful, and precise baton. Not only did he pull off an impetus of romance from the score, but also light and colourful aspects as well as - with unusual subtlety - a delicate irony. [...]
[Paolo Gallarati, La Stampa, 9/12/2012]
«Luisa Miller» at La Scala between Nature and tyrannical Law
Applause for the opera by Verdi conducted by Gianandrea Noseda and directed by Mario Martone
[...] the new production, conducted by Gianandrea Noseda and directed by Mario Martone, was met by many an applause, not only at the end of its three acts but also its concertato duets and arias. This was the result of a harmonious work of the whole opera house, orchestra and chorus perfectly groomed by Noseda and Bruno Casoni. [...]
And what an excellent debut was that of Noseda! He does not polish the “dirt” in this Verdi who is already Verdi but not yet in his prime. He therefore does not reduce it to the “neutral” colour we often listen to. Nor does he overdo the tones beyond a certain limit to become coarse.
Noseda’s interpretation is so mature that it allows rediscovering how beautiful and Verdi-like the sound of the orchestra of La Scala is. The only slight criticism, if one wants to be fastidious, is that the third act hasn’t got the same dramatic tension of the previous ones. But the moral of the story is that of a Luisa Miller worthy of the absolute prestige, now an indisputable one, of the Milanese theatre.
[Paolo Gallarati, Il Corriere della sera, 8/6/2012]
Heart to Heart. The White Light Festival, at Lincoln Center
[…] Two days later, the Londoners regrouped to present the War Requiem, now with Gianandrea Noseda on the podium. […]
Noseda marshalled the finest War Requiem that I have heard. Ho showed total control of Britten’s vast structure: the balancing of full orchestra against chamber ensemble; the tricky liederlike entrances of the vocal soloists; the staggering floods of sound in the Dies Irae and Libera Me. The performance was also an acutely expressive rendition of a piece that is too often handled as a technical tour de force. […]
[Alex Ross, The New Yorker, 14/11/2011]
OAE/Noseda, Royal Festival Hall, London
«How should one feel after a performance of Beethoven's Missa Solemnis? […] The first collaboration between Gianandrea Noseda and the Orchestra of the Age of Enlightenment it was a moving performance that asked more questions than it answered, which is how this work should be heard. […]
[…] Noseda seems a perfect fit with the OAE; here, he took an ensemble that at its best is electrified, and turned up the voltage to sparking point. The tenderness with which he shaped passages such as the opening Kyrie found its counterweight in furiously dynamic allegros. Yet, while at 85 minutes this was a brisk performance, the impression it left was not one of hurtling speed, but of energy, of shifting colours and responsiveness to Beethoven's detailed and evocative orchestral writing.
The performance was dedicated to the memory of Charles Mackerras, a much-missed conductor of both chorus and orchestra, and no stranger himself to taking the musical bull that is Beethoven by the horns. He would have been proud.»
[Erica Jeal, The Guardian, 6/11/2011]
LSO/Davis/Noseda at Lincoln Centre, New York
«[…] But it was Sunday’s performance of the War Reqiuem that made the biggest impact. […] And Gianandrea Noseda’s unashamedly dramatic interpretation held the audience transfixed. It was all so vivid: the opening choral whispers like the echoes of dead souls; the tolling bells and ominous fanfares; and the slow crescendo of mourning murmurs in the final moments — an overwhelming evocation of the grief, the waste and the pity of war.
Noseda and Znaider are very much the coming men. The LSO should woo them both assiduously.»
[Richard Morrison, The Times, 24/10/2011]
Leading the March to a Mystical Place
«[…] On Sunday afternoon the London Symphony and Chorus were back, this time with the conductor Gianandrea Noseda, […] for an overwhelming performance of Britten’s War Requiem, another work that certainly fits the festival’s goal of exploring spiritual dimensions of our lives.
[…] The War Requiem is a bold, personal and modern work. It came through that way on Sunday in the gripping, nuanced performance that Mr. Noseda conducted, right from the start, when the hushed chorus sang, Requiem aeternam, asking the Lord to grant the deceased eternal rest, but in veiled, quietly intense music that suggests trepidation, as if the choristers were afraid to make this plea. […]
[…] This performance would have resonated without the framework of the festival. But hearing it in this context set a meaningful template for what is to come.»
[Anthony Tommasini, The New York Times, 24/10/2011]
Pittsburgh Symphony Orchestra names Gianandrea Noseda as the Victor de Sabata Guest Conductor Chair
«PITTSBURGH - The Pittsburgh Symphony Orchestra (PSO) and Music Director Manfred Honeck today announced the creation of the Victor de Sabata Guest Conductor Chair for conductor Gianandrea Noseda. Noseda's appointment to this title is for four years, beginning with the 2010- 11 season.[...]»
[The Pittsburgh Symphony Orchestra Press Office, 9/09/2010]
BBCPO/Noseda at Bridgewater Hall, Manchester
« [...] Mahler's Seventh is by no means his finest. But Gianandrea Noseda and his musicians made us thrillingly aware of its teeming life, its sheer virtuosity of imagination. I have heard more sinister Nachtmusik movements. But Noseda went for delight in colour and movement: the second nocturnal becoming a vivid backcloth of animation, as it were, for the folksongs which sing constantly in Mahler's mind and music. And the finale? Perhaps only an ltalian could release the heady, carabinieri-band blasts in Mahler. They're few, after all, and this audience certainly enjoyed it all while they could.»
[Hilary Finch, Timesonline.co.uk, 27/04/2010]
Gianandrea Noseda led the BBC Philharmonic in a thrilling performance of Mahler's Seventh Symphony.
«The Bridgewater Hall's traversai of Mahler's mighty symphonie cycle reached the Seventh last Saturday, in a performance by the BBC Philharmonie under its principal conductor, Gianandrea Noseda. [...]
Noseda and the players (who were on terrific form) made the switchbacks and the sudden silences between these things seem vertiginous and extreme. Not once did Noseda let us off the hook, his lean figure trembling with electric energy as he urged the players on. The three middle movements, which as a sequence can seem puzzling, weren't a sequence at all - Noseda ran them all together, turning them into one long fleeting nocturnal phantasmagoria. The whole thing was incredibly vivid, and left us tingling with energy.»
[Ivan Hewett, Telegraph.co.uk, 26/04/2010]
Verdi’s Requiem: Music to put grief counsellors out of work
«With the help of the Toronto Mendelssohn Choir, four operatic-voiced soloists (all making their Toronto debuts) and the masterful leadership of conductor Gianandrea Noseda, Roy Thomson Hall at times shook with the intensity of the music coming from the stage [...].
If everyone could face death with the help of a live performance of Verdi's Requiem, the world would have no more need of grief counsellors.
It means even more when the live performance is as fine as Noseda's inspired reading, which took into account all the potential of the silences between the notes as the notes themselves».
[John Terauds, The Star, 19/02/2010]
CSO: Noseda’s first-rate debut, Lupu’s depth and elegance
Skill on the podium and at the piano for CSO concert
«The much talked-about Milan-born conductor Gianandrea Noseda is making his CSO debut.
The Beethoven provided the big news of the concert Thursday night, too: Noseda, 45, is a serious talent. At a time when managers and critics are lamenting the lack of conductors of music director caliber, someone needs to snap him up soon as he comes to the end of his run as chief conductor of the BBC Philharmonic in Manchester, England. Long a protégé of Russian eminence Valery Gergiev, Noseda has absorbed some of his mentor's odder movement and podium methods. More important, though, he has learned how to use them to harness and shape appropriate sound with an orchestra. Even with reduced forces, Noseda's Beethoven accompaniment was strong, nuanced, and wholly of Beethoven's world and style.
[Rachmaninoff's First Symphony, in D minor, Op. 13] Clearly Noseda, who has recorded the work with the BBC Philharmonic for Chandos, believes in the piece. The sprawling four-movement, 45-minute exercise was given a loving performance by conductor and orchestra [...]
Let's hope we can hear what else Noseda has up his sleeve soon».
[Andrew Patner, Chicago Sun-Times, 27/02/2010]
Il tabarro, «momentous performances»
«Puccini’s thrilling opera features momentous performances at one of last year’s most unforgettable BBC Proms. Gianandrea Noseda conducts the BBC Philharmonic and a fabulous line-up of top-class soloists including Barbara Frittoli, Lado Ataneli and Barry Banks…».
[Oliver Condy, BBC Music Magazine, April 2009]
Symphony n. 10 by Mahler, «hugely inspired performance»
«A more significant chapter in Mahler performance history is Gianandrea Noseda's outing with Deryck Cooke's completion of the unfinished Symphony No. 10. While Simon Rattle's Berlin Philharmonic felt carved in granite […] this more yielding but hugely inspired performance explores the music's logic as never before and makes its five movements sound all of a piece».
[David Patrick Stearns, The Philadelphia Inquirer, 13/04/2008]
Pittsburgh Symphony Orchestra does Rachmaninoff proud
«Noseda, who poked fun at his ultra-fast tempos in Schubert’s Ninth Symphony last week, continues to charm the audience. Noseda hit the musical mark with Rachmaninoff’s fateful Symphony No. 1, which flopped in its premiere in 1897. The conductor treated the aggressive four-note motive of the symphony like an idée fixe, fitting for the compulsive composer. In nearly every statement, it sang out stridently. But the conductor’s grasp of structure made the reading. […] It was a reading that didn’t pander to the work’s effects but sought to let the themes tell the story. Without question a work that needs to be heard more».
[Andrew Druckenbrod, Pittsburgh Post-Gazette, 04/04/2009]
«Schubert’s Ninth the way it is written»
«The conductor's musical accent was more than unerring in the Viennese late romanticism that followed. […] Noseda presented the Passacaglia with great insight - with the expected passion but also with keen harmonic sensitivity. He didn't go for a Richard Strauss lushness of sound, choosing instead more distinct, clear textures than blended ones. […] Noseda led a rapid performance of Schubert's symphonic masterpiece. It wasn't only that his tempi were swift. He also eschewed many traditional rhetorical gestures, such as slowing down at the end of the first movement, when the string choir gives out the opening theme for the last time.
Most conductors slow down for rhetorical emphasis, but Noseda pushed forward. Noseda mainly played Schubert's Ninth the way it is written. The triple fortes didn't stand out enough, but he brought out many details neglected in traditional performances. Gustav Mahler, a great conductor as well as composer, once said “Tradition is slovenly”. Arturo Toscanini said: “Tradition is the last bad performance”. Last night, the music making was freshly conceived at Heinz Hall».
[Mark Kanny, Pittsburgh Tribune-Review, 28/03/2009]
A fast, ferocious Trovatore
«In a new Met production by director David McVicar, abetted by conductor Gianandrea Noseda, a streamlined staging and breakneck pace made the most of the opera's ferocious, larger-than-life conflicts and emotions. Trovatore is all about excitement, not subtlety — and this show delivered it. Most of all, Mr. Noseda's vividly exciting conducting kept this thriller constantly on the boil».
[Heidi Waleson, Wall Street Journal, February 2009]
Verdi’s Foundlings, Nobles and Gypsies, Transported to the Age of Goya
«In the Gypsy camp, the well-known “Anvil Chorus” was almost a dance outright, with sweaty musclemen taking rhythmically coordinated swings with the steel hammers on the clanking anvils. The conductor Gianandrea Noseda drew out dark textures and grave solemnity from the music. Through this performance I kept marveling anew at the inspired music and the dramatic depths Verdi guides us to».
[Anthony Tommasini, The New York Times, 18/02/2009]
Noseda conducts Salome «with electric energy»
«The Phil was in terrific form, all 107 of them, and although Noseda will inevitably refine parts of his interpretation, he drove the great work with electric energy, relentlessly piling on climax after climax, creating tension in the breath-holding pianissimo episodes such as that when Salome is awaiting delivery of Jochanaan’s head, and giving full lyrical bloom to the closing scene».
[Michael Kennedy, The Sunday Telegraph, 17/02/2008]
Falling head over heels
«It is an unusual step to try out a production in a different country, and the logistics must have been considerable, but so, presumably, was Noseda’s will to fuse his ensembles and give Manchester (and Radio 3 listeners) the benefit of his double role.
He was certainly a cynosure: a tall, lean figure with a passion on the podium, sometimes crouching down to secure a pianissimo, at other times leaping into the air as though as crazed and obsessive as the characters of the drama».
[Paul Driver, The Sunday Times, 17/02/2008]
Thrilled by Strauss
«Does Richard Strauss’s Salome still have the power to shock, as the writers of programme notes like to claim? Not, anyway, in a concert performance, such as was given in the Bridgewater hall last Saturday, the BBC Philharmonic on unusual territory, with soloists from the production that will soon be seen at the Teatro Regio, Turin. The uniting factor was the conductor, Gianandrea Noseda. Though not shocking, the performance was thrilling, mainly owing to the orchestral playing and Noseda’s brilliant shaping of the score, so that what can often seem, even when staged, a long and often rather tedious prelude to the sensational last quarter-hour was alive at every minute, with a tension maintained even through the uproar of the quarrelsome jewish theologians and the absurd kitsch of the Dance of the Seven Veils».
[Michael Tanner, The Spectator, 16/02/2008]
Strauss’ Salome, Noseda harnesses a terrifying energy
«Noseda illuminated every musical detail, drawing playing of the utmost acuity. Having let this monster out of its cage, he harnessed its terrifying energy, balancing its cut and thrust with its shimmering lyricism in an electrifying performance».
[Lynne Walker, The Independent, 13/02/2008]
Decadent feast for the ears
«Some in the hall might have preferred Noseda’s more extreme cavortings to be hidden from view, but his sheer magnetism drew players, singers and audience together in a shared experience of Strauss’s deliciously decadent vision. The adult certificate scenes left everything to the imagination. For the Dance of the Seven Veils, Noseda and the BBC Philharmonic stepped into the limelight with panache».
[David Fanning, Daily Telegraph, 11/02/2008]
«Characterful and spontaneous playing»
«This is a superb disc. There have been distinguished collections of Smetana’s symphonic poems (notably a vintage Kubelík disc) but none quite to compare with this in excitement, richness of detail and, in the case of Wallenstein’s Camp, sonic spectacle – how well Smetana writes for the bras! […]
Gianandrea Noseda draws wonderfully characterful and spontaneous playing from the BBC Philharmonic, and the Chandos engineers surpass themselves with the realistic vividness of the sound and the naturalness of the balance. Not to be missed».
[Ivan March, Gramophone, November 2007]
«I am not a creator. I just deliver the message»
«As a boy, Gianandrea Noseda wondered whether conductors had supernatural powers. His father, an amateur choirmaster in Milan, regularly took him to rehearsals. "I was fascinated by the fact that he was moving his hands about," Noseda says, "and the choir was reacting and producing sound. He was some sort of magician to do that." He gestures with his hands, like a sorcerer, as if summoning some unseen music into existence.
Humility is certainly never something one would associate with this flamboyant, yet gentlemanly man. But when he conducts we do, unquestionably, get the message - both the composer's and Noseda's. At his best, he has the ability to change our perception of music itself, and that makes him a magician of the podium.»
Noseda and his BBC Phil catch all the Liszt drama, with no going over the top
«They [Noseda and BBC Philharmonic] achieve a special sense of exultance rather than bombast in Festklänge […] And they are no less successful in the vast spans of the Héroïde funèbre, a still desolating tribute to those who suffered "throughout the whole spectrum of human carnage" (Liszt).
Fluent and eloquent as ever, Noseda and his orchestra have once more been superbly recorded.»
[Gramophone Magazine, 07/2007]
«This hard-hitting concert formed part of Gianandrea Noseda's Brahms/Schumann series, a retrospective spread over two seasons. It analyses the close association between the two composers by juxtaposing, each evening, a concerto by one with a symphony by the other.
[…] Noseda's performance was all fury and élan, except for the adagio, in which the long, drooping string phrases and throbbing brass transported us into a world in which elation foundered into the deepest despair. Wonderfully done.»
Going to hell with breathtaking style
«Gianandrea Noseda has steered some memorable concerts in his first five years as the BBC Philharmonic's principal conductor, but surely none more overwhelming than this Rachmaninoff programme. He harnessed together two works whose status as masterpieces is eminently debatable, and conducted them as if in defiance of any doubters.
[…] Noseda has such a fine instinct for the moods, textures and flow of the piece, and such a charismatic platform presence, that it was only those concluding bars that felt less than the work of a genius.»
A rewarding search for Tchaikovsky's cunningly concealed nuggets
«Noseda was wise to keep the Fourth's angst in check and not to over-indulge Tchaikovsky's hyper-sensitivity.
It was this clear-eyed thought that made the performance of the Third Symphony so revealing. True, the work has its flaws, and its emotional punch is scarcely shattering.
[…] Both concerts demonstrated the rapport and synergy that he can inspire […] Noseda elicited a compensatory lucidity of detail that showed up the iridescence of Tchaikovsky's orchestration.»
La forza del destino at the Metropolitan Opera of New York
«Gianandrea Noseda drew a driven performance from the orchestra and kept the choral scenes tight.»
Concert at the BBC Proms in London
«[…] the whole symphony was splendidly conducted here by Gianandrea Noseda… he shaped this epic symphonic poem with passion, empathy and intelligence. There was a superb tautness to some of the explosive string entries, particularly after the work's mysterious opening and in the final death-or-glory fugue.»
Beethoven superstar defeats McCartney-U2
«Beethoven has defeated U2 and Paul McCartney. The unexpected victory, on internet. The composer's symphonies, in fact, were downloaded more than the duet between the ex-Beatles and Bono’s band at Live 8.
The source is very reliable: the authoritative BBC. For two weeks, the site of the English radio-TV made available the cycle of nine symphonies performed in Manchester by the BBC Philharmonic with Gianandrea Noseda conducting. Rockstar figures: 1.4 million operations. The favourite was Symphony no. 6, the Pastoral…»
Lovely Figaro without direction
«The first praise goes to Gianandrea Noseda, who conducts The Marriage of Figaro in an exemplary manner. The tempos are fast and sprightly, always in close dramatic relation one to the other; the phrasing clear, the recitatives prepared down to the last accent, the colours outlined and appropriate.»
Don Giovanni in Sicily
«The conducting of Noseda is a masterpiece of theatrical engineering and dry dramatic concreteness. It is a well-defined example of a melodrama that succeeds in expressing the meaning of life perceived in its continuous psychological becoming and the realism of its display.»
[L’Opera, Febbraio 2005]
Don Giovanni saved by the voices
Great interpreters, excellent conducting by Noseda
«Credit goes, above all, to the conducting of Gianandrea Noseda. His performance flows with a fast pace, attracts with the correctness of the phrasing, the lively contrasts and the clarity with which he brings out with transparency the extraordinary richness of Mozart’s orchestra.»
[La Stampa, 26/01/2005]