Berlin Musikfest 2017 - Monteverdi 450 Trilogy Reviews
website review
© Carolina Rodenda

L'Orfeo, 2nd September

Bachtrack ★★★★ by Jens Klier 

'The English baroque soloists, whose ritornellos moulded themselves to the mood and intensity of the respective atmospheres... formed the most finely tuned patterns for this theatre.'

Il Ritorno D’Ulisse in Patria, 3rd September 

Bachtrack ★★★★ by Jens Klier 

'The English Baroque Soloists draw out the intimacy and fervor which are so inherent in the piece and are so impressive'

L'incoronazione di Poppea, 5th September

Bachtrack ★★★★ by Jens Klier 

'The drama came to the forefront with Gardiner and his Monteverdis, especially because of the Basso Continuo of the English Baroque Soloists...who showed desibrable effervescence and emotional pleasure in order to support the intense emotions (of the music) and to give them a harmonious, colorful representation'

Stage and Screen by Sascha Krieger 

'Then the orchestral sound suddenly becomes quite delicate, the space is immensely intimate. This applies, of course, to the breathtaking final duet, but also for the duet of the lovers some scenes before'

Lucerne Festival, Switzerland - Reviews
© Peter Fischli

L'Orfeo, 22nd August

Der Bund by Susanne Kübler

'John Eliot Gardiner stops on his Monteverdi tour at the Lucerne Festival, with an almost too-beautiful Orfeo.'

Rivista Musica by Luca Segala

'Two hours of pure emotion distilled with wisdom, technical expertise and above all the ability to grasp all the finesse of expressive writing to the highest degree’

Il Ritorno D’Ulisse in Patria, 25th August 

Neue Zurcher Zeitung by Jürg Huber 

'Musically all wishes are fulfilled [...]'

'elegant and free-flowing.' 

'The English Baroque soloists succeeded in captivating the intimate passages.

L’incoronazione di Poppea, 27th August

Financial Times ★★★★ by David Kettle

'...a performance of scrupulous authenticity and expressive power'

General Reviews

The Guardian by Fiona Maddocks

'The rapport between voices and ensemble resulted in performances of electrifying intimacy. The instrumentalists deserve several paragraphs of their own. Rich with the dark-light colours (think aural Caravaggio) of lutes, theorbos, harp, dulcian, harp and more, their agile playing supported the drama with a restless repertoire of whispers, dissonant groans, sighs, outbursts and exclamations. '

Mendelssohn: Hymn of Praise (LSO Live) in Classical Source

Classical Source, August 2017 
★★★★★ by Antony Hodgson

 'lucid, superbly sung'

'...the widely spread, powerful choir is accompanied by well-detailed orchestral sound' 

'Sir John Eliot...plays it lightly and rhythmically in an almost dance-like manner'

Edinburgh International Festival, Usher Hall - Reviews

L'Orfeo, 14th August

Herald Scotland ★★★★★ by Keith Bruce

'Yet another extraordinary evening of opera in the Usher Hall [...] Gardiner and his superb international cast then deliver the goods, with consummate style.'

Il ritorno d’Ulisse in patria, 15th August

The Scotsman ★★★★ by Susan Nickalls 

'The English Baroque Soloists were in fine fettle'

Herald Scotland ★★★★★ by Keith Bruce 

'...the moments of unaccompanied singing from various ensembles and songs like the duet of Ulisse and the faithful Eumete (Francisco Fernandez-Rueda) were quite exquisite.'

L’incoronazione di Poppea, 17th August

The Scotsman ★★★★★ by David Kettle

'And the musicians produced a gloriously rich, supple tapestry of sound, alive to the singers’ caressing lines. Gardiner had an exemplary cast, too'

General Reviews

The Scottish Daily Mail by Tom Kyle

'The entire production was superbly marshalled by Gardiner himself. [...] This really is the sort of thing for which we have an International Festival.'

Herald Angels Award

We are pleased to announce that our Monteverdi 450 Trilogy Tour has been awarded a 'Herald Angel' from Herald Scotland, received on behalf of Sir John Eliot Gardiner by board member and founder member of Monteverdi Choir Professor John Smythe. The 'Herald Angel' awards celebrate performance excellence at the Edinburgh International Festival, from one of Scotland's biggest news providers. 

Prom 31: La Damnation de Faust - Reviews
© Chris Christodoulou

The Independent ★★★★★ by Alexandra Coghlan

'John Eliot Gardiner’s instinct for Berlioz has been honed over many years, and the result here was a performance brimming with detail and colour.'

'Was it Ann Hallenberg’s glowing “D’amour l’ardente flame” ... the easy brilliance of Michael Spyres’ “Nature immense”, or Laurent Naouri’s plausible, clubbable Mephistopheles that was the evening’s highlight? It would be impossible to choose.' 
★★★★ by David Nice 

'...he tore through the livelier scenes with the sharpest of edges from his Orchestre Révolutionnaire et Romantique'   

The Financial Times 
(prem) ★★★★ 

'One of the delights of Gardiner’s Berlioz has always been that he plays these effects to the hilt: the hellish trombones, the woozy solo bassoon trailing after the students, the plaintive cor anglais haunting Marguerite, every detail told.' 

The Times 
(prem) ★★★★★ by Neil Fisher 

'John Eliot Gardiner['s] Berlioz performances [...] have become Proms highlights, and this thrilling night was no exception.'

'All four soloists were on strong form. [...] Next year he returns to the Proms with the same forces as Aeneas in Berlioz's Les Troyens. Don't miss it.'

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