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PRESS QUOTES

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

TONHALLE ORCHESTER-ZÜRICH – AUGUST 2020

Järvi deftly juxtaposed the gentle, elegant sections with the energetic, joyous passages; there were many light touches to be enjoyed. Many of the orchestral players had smiles on their faces as they played, always a good sign. The second movement impressed with the beauty of the muted string section, the third bounced along gleefully. The Finale, Allegro con spirito, lit up the hall with its spectacular string displays over two octaves, so-called ‘Mannheim rockets’, glistening like fireworks.
Seen and Heard International, John Rhodes, 21 August 2020