Renowned German conductor Matthias Manasi gave a performance in Almaty (English Translation)
It was Maestro Matthias Manasi’s first appearance on the stage of the Bolshoi Concert Hall of the Kazakh State Symphony Orchestra in Almaty where he conducted the Kazakh State Symphony Orchestra in a performance of a symphonic picture called ”Mergen” and Prokofiev’s Seventh Symphony…
Together with Renat Salavatov, artistic manager and main director of the Kazakh State Symphony Orchestra, Matthias Manasi chose a varied and interesting program for his debut at the Bolshoi Concert Hall in Almaty. The pieces presented in the repertoire were rare. From Sagatov and Prokofiev, each listener could choose something suitable for him/herself. The musicians decided not to rely on quantity, let alone glamour and showiness. They concentrated mainly on a single program, yet with absolute devotion, which resulted in incredible depth and profundity. Such a decision was very clever. Also included in the repertoire was Mario Castelnuovo-Tedesco’s Concerto for Violin and Orchestra No. 2, played by honored violinist of the Kazakhstan’s Republic and Philharmony’s soloist Aida Ayupova. In spite of the crude way of dressing of current European conductors being fashionable these days, Matthias Manasi wore an impeccable frock coat, a snow white shirt and patent leather shoes.
…Maestro Manasi has shown that the secret of a successful concerto isn’t just a complicated and sophisticated repertoire, but is also in the confirmation of the traditions that are present in the Kazakh school of classical music…
(Mira Mustafina, Liter, 27 January 2015)
Almatyans have heard the “Prophets” (English Translation)
An unforgettable concert took place at the Bolshoi Concert Hall of the Kazakh State Symphony Orchestra where the audience had the distinct pleasure of listening to a marvelous score called “The Prophets” due to a top-drawer conductor from Germany, Matthias Manasi, as well as to an honored and resplendent artist of Kazakhstan, Aida Ayupova, and virtuoso musicians of the Kazakh State Symphony Orchestra in Almaty.
Matthias Manasi is one of the brightest and gifted conductors of our time, known for his charismatic and expressive manner of conducting, but also for his indisputable piano talent. He put forth enormous effort to set the highest possible standard for the whole performance.
(Erzhan Oralyekov, Evening Almaty, 27 January 2015)
Rome – Auditorium Conciliazione – Orchestra Sinfonica di Roma – Rossini, Casella, Stravinsky conducted masterfully by Matthias Manasi (English Translation)
Last weekend the young German conductor, Matthias Manasi, conducted the Orchestra Sinfonica di Roma together with three magnificent soloists;Alexander Hülshoff, German cellist, Filippo Faes, Italian pianist, Hugo Ticciati, English violinist, all four stars of the international world of music, and it was just pure magic.
The program began with Rossini’s brilliant William Tell Overture, followed by the Casella’s Triple Concerto, Op. 56. Casella is also remembered as being one of the most famous Italian piano virtuosos (who founded in 1930 the Trio Italiano together with Arturo Bonucci as cellist and with Alberto Poltronieri as violinist).
After the break it was time for Stravinsky’s rarely played Symphony in C in a sensational performance, conducted by Matthias Manasi, who seems to have an almost mystical musical feeling that always brings out the best in Rossini’s, Casellas’s and Stravinsky’s music. This all added up to a marvelous evening of beautiful music. Manasi’s reading of the Guglielmo Tell overture was masterful, resulting in a sensational interpretation rich in mystery, brilliance, power and detail. Also excellent were the three soloists in the Triple Concerto who are all exceptional masters of their instruments.
A pure musician, Matthias Manasi does not require hype or engage in theatrical gestures, his skills and his relationship with the Orchestra Sinfonica di Roma were such that,from the very beginning, he created an optimal orchestral sound.
Matthias Manasi’s conducting style was also surprisingly direct and well-phrased, allowing the musicians of Orchestra Sinfonica di Roma to express their maximum virtuosity. Everything was magnificient, and it was as if the music flowed in the veins of Manasi with a decidedly intense interpretation.
It would seem that, on stage, Manasi knows how to turn everything into gold.The young German conductor fulfilled the highest expectations of both the audience and this reviewer. He is a master of his craft, with a precise combination of good taste, absolute clarity, solid structure, joy and sensuality.
With Manasi, the other stars of the concert were the musicians of the Orchestra Sinfonica di Roma, conducted with elegance and unerring sense of proportion, with nothing overdone. Even in the third movement, where the energy can sometimes overwhelm the clarity of the line, the dramatic power seems not to have interfered with the musical interpretation.That Matthias Manasi conducts magnificently was immediently evident, but never more so than in listening to his interpretation of Stravinsky’s Symphony in C, conducted with color, spirit, and particularly dramatic urgency, but also with so much tenderness and flexibility of the melodies.
All this was accomplished by Matthias Manasi’s expressive gestures, which were efficient and often minimal, but with nothing that took away from the emotional intensity and commitment.
It was a marvelous interpretation that added value to the work of Manasi and who is showing himself to be one of the most important conductors of our time, giving it a well-deserved success in his debut in Rome. What you see in his conducting is great timing, no exaggeration in the tempi, and strength, all the while maintaining a superior mastery on the podium. Having Manasi as a conductor, if only as a guest conductor for two concerts, was quite fortunate for the Orchestra Sinfonica di Roma.
(Elide Apice, Factanet Rome, 8 March 2014)
Matthias Manasi conducted Rossini. And not only – (English Translation)
The echo of his unique talent and remarkable musical interpretation was still in our minds from a few weeks ago, when a river of notes emerged in the acoustically perfect Auditorium Hall in Via della Conciliazione in Rome, from the magic wand of Master Matthias Manasi: first, the dialogue between solo cello and cellos; then, the unleashing of the storm, contrasted by the “Andante pastorale” of the English horn; and finally, the fanfare communicated by the trumpets and the whole orchestra for a whirling finale.
This is how Master Matthias Manasi conducted Rossini’s William Tell Overture: an all-around sensory experience that energized the audience while highlighting the talent of a great orchestra – the Rome Symphony Orchestra.
The grateful audience applauded, still stunned by the introspective effect of the music. Master Manasi incited passion through the hard (yet still pleasant) dissonance, which then passed in a wave of serenity and finally arrived at an overwhelming climax. It was the Triple concert Op.56, Alfredo Casella.
Once again the dialogue with the public became intense. And once again we could only delight in the “Cubist portrait”, which is the Stravinsky Symphony in C. Through almost sensual gestures, the Maestro entrusted the main theme to the oboe, and pressed the strings up to a conclusive explosion. But here was the melodious passages’ prelude to the vigor of the last movement that concluded the concert. As always, when the instruments are silent, the inner eye is turned to the architect of so much “beauty”. Once again the miracle of Music has been accomplished.
(Agoranews, Rome, 18 March 2014)
A wonderful concert of German music Symphony concert conducted by Matthias Manasi (English Translation)
“The program of the final concert of the cycle, “The Music of the Nations,” was dedicated to Germany. The concert series which was organized by the state government confirmed the interest of the countries that wanted to take part in this cycle.
The evening was opened with a welcome address by the German Consul, Mrs. Caterina Calla, to the audience followed by an address by the Member of the Parliament of the Italian Republic, Mr. Francesco Paolo Sisto, who emphasized the importance of the event, which was a sign of the revival of the cultural potential of the cities from which the Orchestra Sinfonica della Provincia di Bari is one of the most important representatives .
The compilation of a program with German symphonic music may seem simple, but in reality the wide range of choice is rather difficult and required a strong intuition.
As a tribute to Wagner and his fascinating personality, the concert opened with the rapt serenity of the Siegfried – Idyll which was then followed by Robert Schumann’s 2nd Symphony and the Concerto for Cello and Orchestra.
Both of these symphonic works are rarely performed in concert. The stars of the evening were understandably of German origin: namely the conductor Matthias Manasi and cellist Alexander Hülshoff, both of whom are characterized by brisk and intense international careers. These two artists approached the excellent Orchestra of Bari with a special relationship and extraordinary ease that resulted in an impressive line.
Manasi gave the delicate work of Wagner a special artistic touch of intimate intensity defined by nuances of great sensitivity and a suggestive transparency in the strings. Followed by the 2nd Symphony, Manasi was convincing with his clever and thoughtful musical concept which underlined eloquently the spirit and essence of this “most personal” work of the composer. He achieved this by interpreting beautifully the musical phrases, the rhythmic finesse and subleties of the orchestral score. A fascinating and visionary interpretation with a fine and special eye for details, thanks to the genuine commitment on the part of the orchestra.
The Cello Concerto was stimulating, almost like a “new creation.” The freedom and imagination of this score, called, “one of the most beautiful works that is out there to listen to,” which was rescued from oblivion by the great Casals, thanks to the merit of this work, includes the almost desperate excitement of the first movement, the dazzling lyricism of the second movement and the playful virtuosity of the third movement. The concerto found in Hülshoff a sincere performer of heartfelt communication, depth of intensity and sounds full of lyricism. The orchestra masterfully overcame technical challenges and the playing of expressive details were exemplary and spotless. It was followed by an encore with a piece by Bach. The concert was an overwhelming success. ”
(Nicola Sbisà, La Gazetta del Mezzogiorno, 9 December 2013)
Mozart, the Vienna Mozart Orchestra and Matthias Manasi in the Golden Hall of the Musikverein Vienna
Extraordinary summer musical event in the Musikverein Vienna: the Vienna Mozart Orchestra (whose musicians are also members of orchestras such as the Vienna Philharmonic and the Vienna Symphony Orchestra), singers and conductor Matthias Manasi delivered an outstanding performance in the legendary, heavenly acoustics of the Golden Hall. On June 26th and 29th, the Vienna Mozart Orchestra will again appear under the baton of Matthias Manasi.
(S. Lampel, Heute.at, 26 June 2013)
World Premiere of C. Minicozzi’s Oratorio (English Translation)
“Matthias Manasi conducted Orchestra Camerata Italiana and Coro Lyrico Teatro Romano.
The audience was touched and moved by the sweet and intense sound. The excellent art of conducting of Maestro Manasi was precise and passionate.”
(Mariateresa de Lucia, Ottopagine, 17 June 2012)
La Bohème in a vivid theatrical and musical production at the International PuntaClassic Festival (English Translation)
“In an outstanding theatrical performance, the Premiere of La Bohème took the stage this Thursday in the last phase of the International Punta Classic Festival at the Solanas Convention Center in Punta del Este. Today and tomorrow will be the last performances of the famous opera by Puccini.
The decision for La Bohème at the 2011 festival was logical from the beginning. Eduardo Casullo (composer and regisseur from Argentina) explained before the premiere that the employment of theatrical details in the staging is one of the unique hallmarks of this production, and that this concept should convince the public of the dramatic world taking place on stage – of course this is not always so easy. Because of this, the artistic secret of good staging and an artistic production can not easily be explained in words.
This festival presents is an excellent opportunity in which to play Puccini’s operas. Puccini had a remarkable sense for drama, and a talent for connecting its story with music. In this production of La Bohème, his ability is fully realized.
In the Premiere, last Thursday, the cast was led by the Mexican singer Eugenia Garza creating an interpretation of Mimi with well measured intensity, while the exuberant role of Musetta was performed by Luz del Alba Rubio. The circle of friends, Rodolfo, Marcello, Colline, and Schaunard was impressively performed with well mannered actions by Marandino Gerardo, Eduardo Garella, and Marcelo Otegui and Nicolas Zecchi. Powerful voices used with emotion blended seamlessly with the historical atmosphere of this opera.
Everyone of the six lead roles succeeded in erasing the boundaries of fiction by being completely immersed in the story set in the Latin Quarter of Paris, 1830. The secret, without a doubt, was that each one of the singers consumed and enjoyed the performance, both vocally and dramatically. Their movement in the closed environment of the attic, in the first and fourth acts, and the opening of the second act, showed their playful exuberance. These performances succeeded despite the limitations of the convention center, and overcame the technical aspects which never impeded the drama and included completion of the set by way of a projection.
The admirable performance of the protagonists and also the work of all other artists on the stage (extras, two choirs, and a military band), despite the nerves of a premiere, displayed energy, concentration, and enthusiasm. Enjoyable, intimate performances, like that of Ephraim Paez’ Benoit, were the reasons for the success of this performance. The opera was impressively played with moments of humor, comedy, and heartbreaking drama.
The orchestra, as in Puccini’s other masterpieces, never serves only as accompaniment. In the last century, both critics and musicologists have praised the theatrical qualities of these scores. In this performance, German conductor Matthias Manasi achieved a very compelling musical interpretation with the orchestra.”
(A. Laluz, El País Montevideo – Uruguay, 15 January 2011)
Rachmaninoff “Symphony No. 2″ with the Çukurova State Symphony Orchestra (English Translation)
…this week the young German conductor and flute soloist Christiane Meininger have been in Adana for a concert with the Çukurova State Symphony Orchestra and made an enthusiastic impression…
The concert was sensational, left an unforgettable impression and the listeners responded with enthusiastic applause. The interplay between conductor, orchestra and soloist was excellent…
(Kübra Polat, Hürriyet, 6 December 2010)