​In celebration of Ludwig van Beethoven’s 250th anniversary year and the 30th anniversary of the Orchestre Révolutionnaire et Romantique, the ORR and John Eliot Gardiner performed the composer’s complete symphony across Europe and the US.

Unfortunately, due to the COVID-19 pandemic, performances of this project in London and Athens were postponed. We were very sad not to be able to perform in these locations, but we are delighted to share our nine-part series on Beethoven’s Symphonies, in which John Eliot Gardiner and the ORR explore the composer’s magnificent symphonic works - watch all nine films here.

PROGRAMME

Symphony No. 1, Prometheus excerpts, Leonore excerpts, ‘Ah! Perfido’ scene and aria
Symphony No. 2
Symphony No. 3
Symphony No. 4
Symphony No. 5
Symphony No. 6
Symphony No. 7
Symphony No. 8
Symphony No. 9

Sir John Eliot Gardiner’s approach to Beethoven takes us to the raison d’être of the Orchestre Révolutionnaire et Romantique (ORR), transporting us to the time when Ludwig van Beethoven thrust his extraordinarily original music in front of his audience. The orchestra’s recordings of the symphonies have been described (by Gramophone Magazine) as a “tour de force… played at white heat”, “glorious” and “magnificent”.

The 2020 performances gave audiences the chance to experience the full cycle of symphonies alongside lesser known works by Beethoven: the concert aria ‘Ah! perfido’, excerpts from his only full-length ballet, The Creatures of Prometheus, and excerpts from Leonore, the original version of his opera Fidelio. These works express Beethoven’s belief that love, faith and personal courage can overcome political or personal adversity – a message which now seems as urgent as ever.

This celebration of the great composer took the ORR on a momentous worldwide tour, performing all nine symphonies to audiences across Europe and the United States. The Monteverdi Choir will join the ORR and John Eliot Gardiner for performances of the 9th symphony, alongside a stellar troupe of soloists: Lucy Crowe (soprano), Jess Dandy (contralto), Ed Lyon (tenor) and Tareq Nazmi* (bass).

*For performances in New York and Chicago, Tareq Nazmi was replaced by Matthew Rose

REVIEWS:

Palau de la Música - Barcelona

“Gardiner has had the complicity and delivery of his Orchestre Révolutionnaire et Romantique, whose attitude, skill and virtuosity have turned each concert into a lesson of honesty and musical passion… what has been heard over these five days in the Palau will be difficult to forget.”
Javier Pérez Senz, El País - click here to read the full review

“The Palau audience cheered in a never-before-seen Symphony no. 5, in which everything came together so that the evening was perfect… A cycle that has made history.”
Pablo Meléndez-Haddad, El Periódico - click here to read the full review

“Five nights of glory… The enthusiasm of the musicians and the energetic beat of Gardiner managed to stop time”
Jaume Radigales, ARA - click here to read the full review

“Beethoven’s Symphony Cycle directed by John Eliot Gardiner this week at the Palau de la Música Catalana certainly deserves the qualification of historical.”
Pep Gorgori, ABC Catalonia - click here to read the full review

“An event that must, without a doubt, be considered one of the most important pages in the history of the Palau de la Música.”
Oriol Pérez Treviño, El Punt Avui - click here to read the full review

“It was a miracle of lightness, transparency, pure sound and expressive magic… the soloists, the Monteverdi and the Cor de Cambra were impressive, both when singing and giving each word of Schiller’s verses full meaning.”
Juan Carlos Moreno, Ritmo - click here to read the full review

“Gardiner and the orchestra reached the highest levels of interpretive excellence.”
Jordi Maddaleno, Platea Magazine - click here to read the full review

“The first thing that attracted attention was the velvety colour that the woodwind and valveless brass provided… The members of the Orchestre Révolutionnaire et Romantique demonstrated once again their virtuosity.”
Pablo Meléndez-Haddad, El Periódico (Symphony no. 1 & excerpts, 09/02/20) - click here to read the full review

“Gardiner moves in another dimension… with a stylistic purity and an interpretative freshness that is pure musical joy… Transparent and well-balanced sound; beautiful sonority in the woodwind, shining brass, incisive timpani and agile, clean and transparent strings.”
Javier Pérez Senz, El País (Symphony no. 1 & excerpts, 09/02/20) - click here to read the full review

“A thousand and one details within a sea of ​​prodigious instrumental flashes, sound balances between perfectly articulated sections that were moulded into a version that would inexorably lead us to a radiant end.”
Lluís Trullén, Scherzo (Symphonies 2 & 3, 10/02/20) - click here to read the full review

“If we measure the excellence of an orchestra on how well it interprets Beethoven’s Ninth Symphony, the ORR of John Eliot Gardiner, based on the interpretation of the last evening, is undoubtedly sublime.”
Miquel Martínez, Bachtrack ★★★★★ (Symphonies 8 & 9, 14/02/20) - click here to read the full review

For a selection of images, click here

New York - Carnegie Hall

“This is how to do a Beethoven Symphony Cycle”
Josh Barone, The New York Times - click here to read the full review (free account required to access full article)

“The unrestrained exhilaration of the Fifth Symphony’s conclusion was so vividly portrayed that the audience roared its approval… The entire symphony was beautifully paced and intelligently conceived.”
Barbara Jepson, The Wall Street Journal - click here to download the full review (PDF)

“Gardiner and the ORR revelled in the peculiarities and liberties [of the First Symphony] that caused consternation to those who were at that premiere in 1800, infusing the music with joy and humour.”
Rick Perdian, Seen and Heard International - click here to read the full review

“This was a raw performance of an iconic work, stripping away the bluster that usually comes with it.”
Eric C. Simpson, New York Classical Review - click here to read the full review

“the musicians played an extraordinarily colorful and beautiful “Pastoral” and nearly blew the roof off the house with a wild Symphony No. 7.”
George Grella, New York Classical Review - click here to read the full review

“An enlightening look at what Beethoven might have strained to hear, in his day.”
Brian Taylor, Cadenza - click here to read the full review

For a selection of images - click here

Harris Theater - Chicago

“It was enlightening to discern each individual note in fast-running scalar passages, to behold themes rippling across the orchestra’s full breadth. This was Beethoven in his most direct expression, unencumbered by sonic overload.”
Howard Reich, Chicago Tribune (Symphony No. 1 & excerpts, 28/02/20) - click here to download the full review (PDF)

“Gardiner and the ORR shed revelatory light on Beethoven symphonies.”
Tim Sawyier, Chicago Classical Review (Symphonies 2 & 3, 29/02/20) - click here to read the full review

“The tempo was brisk, the excitement palpable, the momentum always forward.”
Dennis Polkow, New City Music (Symphonies 8 & 9, 27/02/20) - click here to read the full review

“The orchestra shone brilliantly in the opening instrumental sections, but the Monteverdi Choir stole the show with marvellous intonation and verbal phrasing”
Louis Harris, Third Coast Review (Symphonies 8 & 9, 27/02/20) - click here to read the full review

“The orchestra showed off terrific dexterity with interplay between soloists in chamber music settings and larger orchestral sections.”
Louis Harris, Third Coast Review (Symphonies 2 & 3, 29/02/20) - click here to read the full review

“Gardiner and his orchestra faithfully stuck to Beethoven’s intentions, and the desired effects were fully delivered.”
Louis Harris, Third Coast Review (Symphonies 6 & 7, 02/03/20) - click here to read the full review

For a selection of images, click here