Stutzmann brings a seductive Tristan Prelude to Ireland

Bachtrack | Andrew Larkin

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“(…) I experienced such a glorious revelation. This was thanks in large part to the superlative musicianship of conductor, Nathalie Stutzmann conducting a responsive NSO.”

Wagner – Overture to Tannhäuser:
“A beloved operatic overture, Wagner’s Tannhäuser is full of glorious tunes which Queen Victoria, when she heard it for the first time, described as “quite overpowering […] and in parts wild”. Stutzmann downplayed the wild parts as she sought to bring out the inner subtleties of the gossamer music of Venus, drawing expressively shaped phrases and warm sounds from the string section. (…) Stutzmann deliberately held back the crescendos to great effect while the overall lighter texture of the overture allowed the merriment to show through.”

Wagner – Prélude and Liebestod:
“Stutzmann delicately crafted the musical line as the crescendo ebbed from section of the orchestra to the other. This was a slow, seductive reading with the melody wooing us, overpowering us as it lingered on exquisite dissonances producing a frisson of desire. (…) I credit Stutzmann with this superlative interpretation as she dared the cellos to take a fraction of extra time and as she drew a smouldering antiphonal response between woodwind and strings.”

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National Symphony Orchestra: Handel’s Messiah at The Kennedy Center

DCMetroTheaterArts | Em Skow

But the performance’s star in my opinion was Nathalie Stutzmann with the conductor’s baton. Guided by her immensely expressive direction, both the voice and orchestra parts rose and fell with unmatched sensitivity. The iconic Hallelujah’s chorus crescendoed so organically it was startling, and “Wonderful, Counselor” bloomed into the rafters with the urging of her wide movements. The undivided attention she commanded and respect she has so clearly earned from those in front (and behind) her was equally as moving.

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The evening’s program notes summarized her as rigor and fantasy embodied in a conduct and I have to agree. It would do her a disservice to say she just connected to the layers of the work, or even to say that she moved others to do the same. The piece shown through her, radiating from her fingertips, dancing through her toes, bouncing through her arms, shoulders, and legs to the floor where even she had to hold on to the rail to steady herself at times. For her, three dimensions weren’t enough to conduct with and her level of passion was truly an honor to witness.

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Brillante ouverture de saison à l’Opéra de Monte-Carlo

Le Podcast Journal | Christian Colombeau

© Simon Fowler

© Simon Fowler

Ce timbre, mâle, rauque parfois, à la flagrance d’ambre, au velours chaud comme une caresse, charnel jusqu’à l’impudeur a instauré comme une relation amoureuse, complice, avec le public subjugué.
Sûre de son absolue maîtrise, balbutiante d’émotion, elle regarde en face ses folles vocalises dans une stupéfiante alacrité, un fabuleux aplomb.

Et comme tout paraît simple avec La Stutzmann. Tout ici n’est qu’ordre et beauté, luxe, calme et volupté. En prime, suprême élégance du chant, respiration intérieure tendre ou douloureuse, distillée comme un aveu, comme un secret presque enivrant.

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