TONHALLE ORCHESTER-ZÜRICH
SEASON OPENING
September 2022

Toshio Hosokawa: Ceremony
Soloist: Emmanuel Pahud
Anton Bruckner: Symphony No. 8

“The 154th Tonhalle Orchestra season opened with this splendid concert … A great start to what promises to be a great season.“
Seen and Heard International, John Rhodes, 16 September 2022

“Toshio Hosokawa’s Ceremony, dedicated to and premiered by celebrated flautist Emmanuel Pahud, is a work as enigmatic as it is demanding … While a high marker for a five-part work, Pahud and the Tonhalle Orchester Zürich rose to meet it with terrific dynamism in this season opener.”
Bachtrack.com, Sarah Batschelet, 15 September 2022

“What a memorable start (to the season)! … The overall clarity of the performance (Bruckner Symphony No. 8) – exemplified in the Scherzo, which was taken a little more fluidly than usual – have a compelling effect. All the more so as Järvi then gives space in the far-reaching Adagio to an elegiac enthusiasm and singing that seems to have fallen out of time.”
Neue Zürcher Zeitung, Christian Wildhagen, 16 September 2022

PÄRNU MUSIC FESTIVAL
Estonian Festival Orchestra
July 2022

“… performances of colossal energy, passion and astounding orchestral playing. Paavo has created an ensemble to make Estonia pround.”
Gramophone, James Jolly, September 2022

”Sometimes it is the quality of the playing that bowls you over from the start. There are of course top-drawer orchestras all over the world, but hearing the Estonian Festival Orchestra at the Pärnu Festival for the first time was like finding a sparkling jewel in the most unexpected place. Drawn from the cream of European players, Paavo Järvi has created in the EFO an ensemble which is not only astonishingly flexible but which also has a depth of tonal resources not often matched elsewhere.“
Bachtrack.com, Alexander Hall, 17 July 2022

”The festival orchestra composed of top musicians brought together from the Järvi circle, exudes the joyful power that once distinguished the Lucerne Festival Orchestra: an immense will to show the conductor and the audience that you are world class.“
Scheiz am Sonntag, Christian Berzins, 6 August 2022

“… dramatic, passionate, painful, deeply touching the human heart, but not depressing. In the symphony (Tchaikovsky’s 5th), Järvi emphasizes dance-like lightness and raggedness, endless chant and sweet melancholy.“
Klasikaplus (Czech Radio), Alena Sojková, 7 September 2022

”For the epic, world-embracing final gambit, Paavo Järvi championed Sibelius’s early Lemminkäinen Suite … The adventures of the erotomanic hero of the Kalevala in a Tristanesque drama of love and death sounded so vivid, as individual a masterpiece as Sibelius ever penned; and the ppp(pp) mythic ghost of eight-part violins at the heart of what this time sounded like the most extraordinary movement, “Lemminkäinen in Tuonela”, was what the players call a “Paavo moment” … “
The Arts Desk, David Nice, 27 July 2022

BERLIN PHILHARMONIC
MAY 2022

Sibelius: Symphony No. 7
Tüür: Flute Concerto (world première)
Soloist: Emmanuel Pahud
Beethoven: Symphony No. 8

”A world premiere makes any concert a special occasion and this commission by the Berliner Philharmoniker to the Estonian composer Erkki-Sven Tüür proved the point. His Concerto for Flute and Orchestra dedicated to, and performed by, their principal flautist Emmanuel Pahud, proved to be the highlight of this evening. The sophisticated, upbeat programme was akin to a three-course gourmet meal with Sibelius’ Symphony no. 7 in C major to start, Tüür as a hearty main dish, and Beethoven’s Eighth Symphony as a scrumptious dessert.“
Bachtrack.com, Zenaida des Aubris, 29 May 2022

DEUTSCHE KAMMERPHILHARMONIE BREMEN
ELPHILHARMONIE HAMBURG & KONZERTHAUS WIEN RESIDENCIES
October 2021

Haydn: London Symphonies Nos. 94, 99 and 105

At the concert of Paavo Järvi and his Deutsche Kammerphilharmonie Bremen with three late Haydn symphonies on Sunday in the Elbphilharmonie, one was a little reminded of the orchestra’s overwhelming Beethoven project a good decade ago. With Beethoven, too, the Kammerphilharmonie had set in motion a completely new dynamic in the interpretation of classical symphonies.

Haydn in particular has to be played as vividly as possible, and deliberately sometimes quite unconventionally, so that the hidden wit of his symphonies comes to the fore. And Paavo Järvi, Artistic Director of the Kammerphilharmonie Bremen for almost two decades, and his orchestra are true masters at this
Hamburger Abendblatt, Helmut Peters, 18 October 2021

The consummate work of Artistic Director Järvi and his joyful orchestra brings out the musical motifs with awe and at the same time irresistible wit … Thus the originality of Haydn’s late symphonies numbers 94, 99 and his final number 104 unfold in all their sophistication, elegance and virtuosity … An evening full of visual and acoustic stimuli that meet Viennese demands and are greeted with bravos and long applause.
Wiener Zeitung, 19 October 2021

Järvi and his musicians have a particular penchant for this – and showed it not only, but also in the minuets, which have long since left the courtly parquet in favour of the bourgeois dance floor. But already in the first movement of the “Paukenschlag-Symphonie” there was a delicious Hmtata, in the underestimated number 99 the soloistic somersaults of the wind instruments (with clarinets!) were a delight in the finale. And in the final number 104, everything came to the fore once again: Seriousness and grandeur, bouncy rhythms at brisk but not frantic tempi, baroque austerity, contrapuntal art, exuberant joy in playing.
Die Presse, Walter Weideringer, 20 October 2021

TONHALLE ORCHESTER ZÜRICH – SUMMER FESTIVAL TOUR
August 2021

Schumann: Piano Concerto
Schubert: Symphony No.8 ‘Great’

SCHLESWIG HOLSTEIN FESTIVAL:

“In the performance of Schubert’s ‘Great’ C major symphony, Järvi and his Zurich orchestra underscore the impression that was already apparent before the intermission: that they are a true dream team. Not only because of the phenomenal sound culture and discipline of the ensemble. But above all because they explore the vast landscapes of Schubert’s music with an irrepressible love of discovery … Paavo Järvi leads lovingly, tightly and naturally, breathing with his musicians and creating vivid contrasts. In doing so, he delights with a rich palette of colors. Especially the pianissimo is breathtaking and touches something deep inside us. Difficult to explain, but all the more clearly to be felt …”
Hamburger Abendblatt, Marcus Stäbler, 21 August 2021

“Paavo Järvi gives grandeur to the ‘C Major Symphony D 944′ to the musicians’ evident delight. In an all-around rapid tempo, interspersed with relentlessly surging worlds of impulse, an intoxicating buzz emerges, finely graduated in the homogeneous registers … In this form and constellation, the Tonhalle Orchestra can once again be counted among the best addresses in international orchestral culture.”
Kieler Nachrichten, Christian Strehk, 20 August 2021

“… an orchestra of irrepressible joy of playing, was always able to fulfill Järvi’s spirited tempo. Thus the audience experienced a wonderfully tuned Ninth by Schubert, the ‘Great’ in C major, which thus impressively complemented the series of Schubert compositions that the SHMF had focused on this year. Järvi was delighted, already passing on his joy at the orchestra’s performance as he played. This had an effect on the musicians, whose enjoyment of precision was increasingly evident. And it had an effect on the audience, who applauded for a long time and were gifted with a wonderfully tender ‘Valse triste’ by Sibelius.”
NMZ, 25 August 2021

GRAFFENEGG FESTIVAL:

“Schubert’s Great C Major Symphony …  lasts 60 minutes, and the Tonhalle Orchestra Zurich under Paavo Järvi interprets it as an ingenious panorama of Schubertian sounds and motifs, from the call of the horns at the beginning to the stormy gallop in the finale. In between, one hears sublime sounds of nature, rousing romantic élan, serenity and melancholy.”
Der Standard, Miriam Damev, 23 August 2021

“… Järvi let us hear why he is one of the most sought-after conductors …. The second movement was disturbing. He clearly set the general pause. It seemed like a pause, a reorientation. Softly, questioningly, the low strings continued in pizzicato. The dancelike sounded with verve. In the final movement, Järvi closed the circle.”
Der Kurier, Susanne Zöbl, 26 August 2021

LUCERNE FESTIVAL:

“Järvi constantly highlighted the contrasts of the score, with gentleritardandos and suddenaccelerandos, which made for exciting listening. Phrases were lovingly presented. The cathedral movement was full of grandeur, Järvi did not waver from a steady gait, maintaining power and tension.”
Seen and Heard International, John Rhodes, 26 August 2021

“In the middle movement, in which the demons of Schumann’s diabolical syphilis disease first whispered the theme of his very last ‘Ghost Variations’, the musicians find an intimacy and a quiet glow that reconciles even the last with the work: regardless of whether it is a product of the burgeoning madness – or merely a problematic piece.”
Neue Zürcher Zeitung, Christian Wildhagen, 27 August, 2021

“… the Tonhalle Orchestra gives the audience one of those moments where they can just sit back and submerge themselves.”
Schweiz am Wochenende, Luzerner Zeitung, Roman Kühne, 27 August 2021

CONCERTGEBOUW ORCHESTRA – APRIL 2021

MOZART: Piano Concerto No.24 with Víkingur Ólafsson
SCHUMANN: Symphony No.3 “Rhenish”

“After months of concert abstinence, music finally came back to the public in the Concertgebouw on Friday evening… It was difficult not to be moved when Paavo Järvi conducted the opening of Mozart’s Piano Concerto No.24…”
Het Parool, Erik Voermans, 17 April 2021

“How many exclamation points are needed to describe the feeling to finally hear the splendor, richness and depth of the KCO (Royal Concertgebouw Orchestra) sound again. Played with Beethovian seriousness, the opening bars of Mozart’s Piano Concerto No.24 already caused goosebumps that raged to your head and toes.”
NRC Handeslblad, Rahul Gandolahage, 17 April 2021

“…Víkingur Ólafsson, who made his debut with the orchestra, grabbed his audience by the scruff of the neck… So did the almost forgotten sound sensations from Robert Schumann’s Third Symphony, that piece of romanticism from 1851. How beautiful, plucking double basses! How we missed them, throbbing horns and trombones! And oh yes, that’s how friendship buzzes between cellos and bassoons. In normal times we had speculated whether the Estonian-American guest conductor Paavo Järvi was on the list of dreamy chief conductors. He must be well suited to the orchestra that took him on tour to Taiwan and Japan in November 2019… Now it suffices: Järvi sent so much energy and poetry through Schumann that the audience thanked him with cheering, whistling and foot-drumming.”
Volkskrant, Guido van Oorschot, 17 April 2021 ★★★★★

“Järvi’s way with Schumann’s ‘Rhenish’ Symphony has long been invigorating… Playing with time, flexing Schumann’s phrases, bringing his syntax to life, can be a recipe for disaster. Not in Järvi’s hands. He’s a musician who conceives every gesture as an organic event, placed and breathing. Articulate music-making, economy at a premium, doing no more than necessary yet electric. Uplifting.”
Colinscolumn.com, Ates Orga,16 April 2021

BERLIN PHILHARMONIC – MARCH 2021

BEETHOVEN: Piano Concerto No.5 with Igor Levit
PROKOFIEV: Symphony No.6

“…this is a lithe, joyous Beethoven “Emperor” Concerto, only fitfully grandiose when the passing moment requires. The orchestra under Järvi is as supple and winged as Levit in his solo passages, and this is that rare thing, a true concerto partnership.”
The Arts Desk, David Nice, 9 March 2021

“The score [of Prokofiev’s 6th Symphony] not only requires a cohesive orchestra with extraordinary principal players, but also a conductor with a strong hand and a deep understanding of the circumstances in which the work was created. Paavo Järvi rose to the occasion. He did not seek easy effects, but carefully constructed a firm structure, emphasising continuity.”
Bachtrack.com, Edward Sava-Segal, 8 March 2021

“…At the rostrum, Järvi brought out all the symphonism of the ‘Emperor’ Concerto to life, especially in the second idea, and as Levit began playing, all the intimacy of the music emerged – sounding almost aristocratic in his music-making.”
Seenandheard-international.com, Gregor Tassie, 7 March 2021

“A concert in the major and minor of E-flat, Paavo Järvi, wisdom, experience and humanity to the fore, bringing to the mix insightful cameos of relaxed after-dinner conversationalist and urbane historical commentator… This was an epic reading [of Prokofiev Symphony No.6], powerful it its profundity, theatre and tension. Russian novel, torn apart history, games and pranks, sarcasm and ballet all rolled into one intense canvas. The Berliners responded magnificently, gold-plated at every turn, safe in their excellence, safe in the hands of a master conductor. Not a journey I would have wanted to miss.”
Colinscolumn.com, Ates Orga, 8 March 2021

“Paavo Järvi beglückt die Berliner Philharmoniker und uns digitale Zuhörer mit einem unverbindlichen Beethoven. Der tönt flott, beweglich, aufregend, dynamisch wunderbar flexibel und vor allem zackig und schlank. Aber auch leichtgewichtig und nur scheinbar konfrontativ.”
Konzertkritikopernkritikberlin.com, 8 March 2021

ORCHESTRE DE PARIS – SEPTEMBER 2020

TCHAIKOVSKY: Violin Concerto with Gil Shaham
DEBUSSY: La Mer
RAVEL: Daphnis et Chloé, Suite No.2

“Le dialogue avec l’orchestre est irréprochable, Paavo Järvi et Gil Shaham semblent être sur la même longueur d’onde, l’un sachant tempérer momentanément ses ardeurs pour laisser celles de l’autre s’exprimer avec plus l’exaltation, ou tous deux se répondant, s’équilibrant, se soutenant selon une entente jamais mise en défaut.”
bachtrack.com, Sylvain Gaulhiac, 4 October 2020

“On pourrait attendre par la suite un caractère plus slave, plus accrocheur ou plus en gravité de la partition, mais le soliste la maîtrise de bout en bout, et Järvi l’accompagne par un orchestre remarquable par ses bois, flûte et hautbois solos en tête.”
altamusica.com, Vincent Guillemin, 30 September 2020

“En revanche, Daphnis et Chloé, au tissu orchestral plus dense, retrouve de belles couleurs ravéliennes sur une dynamique soutenue, dans un phrasé plus descriptif et plus tendu sollicitant tous les pupitres d’un Orchestre de Paris irréprochable de bout en bout.”
resmusica.com, Patrice Imbaud, 1 October 2020

TONHALLE ORCHESTER-ZÜRICH – SEASON OPENING – SEPTEMBER 2020

PÄRT: “La Sindone“ (revised version 2019)
BEETHOVEN: Symphony No.7
BEETHOVEN: Piano Concerto No.4 with Lars Vogt

“Was für ein Saison-Auftakt! Wow! Schon lange nicht mehr so toll musizierten Beethoven gehört! Bravi! Arvo Pärts „La Sindone“ als monumental-emotionaler Einstieg, anschliessend Beethovens 7. Sinfonie mit atemberaubenden Tempi. Grossartig!…”
Archimbodis World, 24 September 2020

“Tonhalle-Chefdirigent Paavo Järvi ist ja auch sonst nicht einer, der auf Routine setzt. Aber wie er Beethovens 4. Klavierkonzert mit geradezu diebischer Freude aus den üblichen Gleisen hob, wie er die Musik im Einklang mit Lars Vogt zurückhielt und aufputschte und tanzen liess, wie er Beethovens Esprit betonte, ohne damit Pärts Innigkeit zu übertönen: Das war dieses speziellen Saisonstarts mehr als würdig.”
Tages-Anzeiger, Susanne Kübler, 24 September 2020

“So feurig, so frei von jeglicher Routine hat man das herrliche Werk (Beethovens 4. Klavierkonzert) lange nicht gehört.”
Neue Zürcher Zeitung, Christian Wildhagen, 24 September 2020

“That said, the assurance that the Tonhalle Maag is committed to music as fine as this, while carefully observing corona restrictions, was an encouraging sign, and the audience showed its enthusiasm with resounding applause.”
bachtrack.com, Sarah Batschelet, 25 September 2020

“Corona macht aus einem halben Konzert ein ganzes – das Tonhalle-Orchester eröffnete gestern seine Saison mit umsichtigen Massnahmen und entfesselter Musik.”
roccosound.ch, Herbert Büttiker, 23 September 2020

“The final Allegro con brio was a real explosive helter-skelter, with Järvi relishing it, taking the movement at a very fast lick. He and the orchestra were rewarded by a standing ovation and lengthy applause. We were all pleased to be back.”
Seen and Heard International, John Rhodes, 26 September 2020

PHILHARMONIA ORCHESTRA AT THE BBC PROMS – SEPTEMBER 2020

RAVEL: Le tombeau de Couperin
SHOSTAKOVICH: Concerto in C minor for Piano, Trumpet and strings with Benjamin Grosvenor
MOZART: Symphony No.41 in C, K551 (Jupiter)

“Replacing Esa-Pekka Salonen, if without changing the programme, Paavo Järvi opened with Le tombeau de Couperin, Ravel’s tribute to friends lost in World War One, expressive music located through a Baroque lens … The Philharmonia Orchestra responded supersensitively to its unexpected if familiar guest-conductor, Järvi choosing well-judged tempos to keep things bubbling along and on-track without denuding the score’s veiled tears and the need for crisp but not robotic articulation …”
Classical Source, Colin Anderson, 9 September 2020

“The Menuetto allegretto danced, Järvi conducting with a broad smile and big round gestures that gave the music a rolling gait. The final movement is the crowning glory of this symphony, and a suitable finale to Mozart’s symphonic output. Here the natural trumpets soared, the period timps had edge … The climax, when the five themes are combined in triumphant counterpoint, is irresistible.”
The Arts Desk, Bernard Hughes, 10 September 2020