“The kind of heat one associates with Gustavo Dudamel”

The Philadelphia Inquirer | David Patrick Stearns

Your eyes don’t deceive you. Yes, that’s Nathalie Stutzmann, the distinguished French contralto, conducting Handel’s Messiah with the Philadelphia Orchestra at 2 p.m. next Sunday at the Kimmel Center. Like soprano Barbara Hannigan, Stutzmann is serious about conducting – to judge from the radio broadcast of her St. Louis Symphony Orchestra guest-conducting date this year. Her rendition of Dvorák’s Symphony No. 7 exuded insight, intelligence, strategy, and the kind of heat one associates with Gustavo Dudamel. How those virtues translate into Handel’s Messiahremains to be seen. But it’s a fair bet the performance won’t be routine.

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Revue de presse : Nathalie Stutzmann dirige Brahms

©Alfonso Suárez

©Alfonso Suárez

Le 24 novembre, Nathalie Stutzmann a dirigé un programme entièrement consacré à Brahms à la tête de l’Orchestre Philharmonique d’Oviedo: son Concerto pour piano n°1 avec le pianiste Benjamin Grosvenor, et sa Symphonie n°1.

Codalario La revista de música clásica, 27.11.2016

Stutzmann consiguió extraer todo el potencial de una Oviedo Filarmonía (…) una dirección rigurosa pero flexible que propició el disfrute intenso de una sinfonía en la que siempre se descubre nueva belleza.

Stutzmann a réussi à extraire tout le potentiel de l’Orchestre Philharmonique d’Oviedo (…) une direction rigoureuse mais flexible qui a conduit à l’intense plaisir de découvrir une beauté nouvelle dans une symphonie.

La Nueva España, 26.11.2016

En esta parte quedó patente la capacidad de esta directora. La Oviedo Filarmonía logró un sonido con mucha potencia y un fraseo muy cuidado. El resultado agradó al público asistente en el Auditorio, que dedicó algunos bravos al término de la interpretación.

Dans cette partie le talent de ce chef était évident. L’Orchestre Philharmonique d’Oviedo a atteint un son avec beaucoup de puissance et un phrasé très soigné. Le résultat a enchanté le public de la salle qui a accordé des bravos à la fin du concert.

La música en Siana, 26.11.2016

Stutzmann entendió esta Primera de Brahms en un crecimiento global que tiene un cénit único en tensión y emoción, romanticismo en estado puro. (…) Largamente aplaudida por músicos y publico la directora francesa ha demostrado que encasillarse en ciertos repertorios no suele hacer justicia, y su autoridad en la batuta ha sido corroborada con este Brahms ovetense.

Stutzmann a compris cette Première de Brahms dans un crescendo global avec un zénith uniquement dans la tension et l’émotion, le romantisme dans sa forme la plus pure. (…) Très applaudie par les musiciens et le public, (…) son autorité à la baguette a été corroborée par ce Brahms à Oviedo.

Spanish National Orchestra: “a deserved final ovation”

Codalario, La revista de música clásica | Álvaro Menéndez Granda

Fernando Marcos / OCNE

Fernando Marcos / OCNE

The force with which Nathalie Stutzmann captained the members of the National Orchestra throughout the work was patent right from the opening energetic theme. Also lyrical when it was necessary, the balanced sonority of the Orchestra was able to extract the full potential of the score. This balance is precisely the characteristic element of the special reading of the French conductor whom the audience granted with a deserved final ovation.

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Au Wigmore Hall: “Everything about this Handel concert was remarkable”

Seen and Heard International | Geoff Diggines

Everything about this Handel concert was remarkable. Nathalie Stutzmann both conducted and sung in the arias. I have never heard of this combination before, but I can say, emphatically, that this duel involvement in the music produced a conviction and dialogue rarely heard. Stutzmann’s singing was remarkable in the way it adapted itself to the tonality/mood of each aria. Orfeo 55 (I counted ten players including organ and harpsichord) were superb with playing Handel could only have imagined!

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The brightness of Osesp in the hands of Nathalie Stutzmann

Concerto | Camila Frésca

© Natalia Kikuchi

© Natalia Kikuchi

Yesterday (…) became even more evident the work she is developing with the orchestra. The Osesp played wonderfully well, since the first bars of the opening of Le Roi d’Ys by Edouard Lalo (…). It prepared the climate for the second piece in the evening, the popular Piano Concerto by Schumann. Besides the quality of the orchestra conducted by Stutzmann, the audience was electrified by solos of pianist Khatia Buniatishvili, which in addition to precision and technical mastery demonstrated a range of tone and interpretive richness. (…) It was supposed to be the climax of the night and follow up in the second part, a light and warm end with the Symphony No. 1 by Bizet. But the work in the hands of Stutzmann was far beyond that. With great musical intelligence, she emphasized the classic character of the first movement and the profound lyricism of the second, in addition to revealing the operatic echoes of the author of Carmen in the final movement of the symphony.

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