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Gennadi Rozhdestvensky Reviews
Biography | News
Accademia Nazionale di Santa Cecilia, Viktoria Postnikova (Piano) January 2010
Gli ultimi sacerdoti di Ciaikovskij
La pianista Viktoria Postnikova e il direttore d’orchestra Gennadi Rozdestvenskij, che sono moglie e marito, hanno eseguito a Santa Cecilia due composizioni tra le meno usurate di Piotr Ilic Ciaikovskij. Lei, Viktoria, è una matrioska dalla treccia appuntata a coroncina attorno alla testa, come le contadine slave d’altri tempi…ma è anche l’ultimo esemplare della prestigiosa scuola pianistica russa del passato. Lui, Gennadi, è il più grande interprete della musica di Ciaikovskij, ed è anche l’unico capace di aggirare la privacy del compositore, la sua vis ipocondriaco-sentimentale. Perché racconto queste cose? Perchè il secondo Concerto in sol maggiore per pianoforte e orchestra di Piotr Ilic (40 minuti di musica) e il “Manfred”, un grande affresco in quattro quadri (55 minuti di musica) erano una sorta di “unicum”, quindi prenotatevi all’ultima replica di oggi, un’occasione sorprendente d’ascolto della musica di Ciaikovskij quale dev’essere stata all’origine – Ciaikovskij per così dire nudo e crudo – chi altri oserà mai sbrinarlo dal ciarpame kitsch, che il demi-monde gli ha surgelato addosso nei decenni, se non Gennadi? Disponeva oltretutto di una splendida spalla, Gregory Ahss, affiancato nel Concerto per violino dal violoncellista Luigi Piovano.
Ma è ora di approfondire le ragioni della intrigante signora Postnikova. Ascoltandola veniva fatto di pensare a quella che forse è stata la sua scuola. La pretigiosa scuola del pianista russo Lescitizki, che suonando faceva “partire” il peso delle dita dal gomito, anziché dalla spalla. Di qui la postura ravvicinata alla tastiera della Postnikova. Di qui le dita arrotondate e, di conseguenza, la tecnica “sgranata”, piuttosto che “spolverata” scorrevole sui tasti. Di qui infine la qualità degli accordi decisamente percussiva, anziché morbida e piena (come detta il pianismo aggiornato). Eppure, il brano che la Postnikova ha poi elargito piano, pianissimo, fuori programma (uno dei tanti piccoli brani per pianoforte di Ciaikovskij), ha rivelato il talento di una Matrioska diversa, segreta e discreta. A scegliere quel nonnulla sospiroso dev’essere stata la più piccola della serie di bambole inserite l’una nell’altra. Chi domerà mai la Matrioska Postnikova?
Mya Tannenbaum, Corriere Della Sera, 26.1.10
Iceland Symphony Orchestra, 28.5.09
A LEGEND AT THE ARTS FESTIVAL ***** (5 Star)
It isn´t often that true legends occupy the stage of Háskólabíó. But the conductor Gennady Rozhdestvensky is certainly among the few. He has been one of Russia´s leading musicians for decades. Composers have dedicated their works to him and he has given the premiéres of some great works of the 20th century.
Yet despite his undeniable stature, Rozhdestvensky conducts with small gestures. The earlier work on the concert, piano concerto no. 24 by Mozart, one hardly noticed him. His wife, Viktoria Postnikova, was the soloist. Her interpretation was beautiful, with soft and refined gestures and poetically shaped phrasing.
It is a known fact that Mozart´s music is extremely delicate in performance. It is so pure that the slightest mishaps can be clearly heard and disturb the overall effect. This sometimes leads performers to being overly precise and mechanical, which stifles the music-making, makes it boring and mechanical. But Postnikova played Mozart freely, at times almost romantically, yet never crossed the line. On the contrary, her interpretation was honest and gentle. The outcome as a whole was a rare delight.
The same can be said for the massive Leningrad-symphony by Shostakovich. Despite the immense struggle depicted in the work, Rodestvensky was a relaxed figure on the podium, his movements were precise and to the point, with no unneccessary movements. And the Iceland Symphony Orchestra played like a major-league orchestra. The percussionists, led by Steef van Ousterhout on the snare drum, were completely in command. The giant brass section had a tight and impressive sound, and the woodwinds were also excellent, including some very beautiful flute solos. The strings had a beautiful texture, but were also threatening when the music required.
Threat is a big element in this work, regardless of the precise meaning of the music. Shostakovich composed the work in 1941 as Nazi troops began surrounding the city of Leningrad. Yet during this performance, it was the music itself that spoke to the audience, making any additional commentary unneccessary. In such a breathtaking performance, the music was all that mattered.
I think it is safe to say that this concert was one of the most important the Iceland Symphony Orchestra has given in its 60-year history.
Jónas Sen, Morgunbladid (Reykjavík), 30.5.09
Accademia Nazionale di Santa Cecilia, January & February 2009
Igor e la Patetica, due volti della Russia
Due aspetti quasi coevi della cultura e della sensibilità russa, nelle musiche che Guennadi Rozdestvensky ha diretto a Santa Cecilia (repliche stasera ore 21 e domani alle 19.30). Lo scenario sontuoso nei colori sgargianti dell'affresco nazionalpopolare e pittoresco di alcune pagine del "Prince Igor" di Borodin e poi il dramma esistenziale, l'ostentato e tragico autobiografismo di Ciaikovsky nella Patetica. Delle due composizioni Rozdestvenskij, espertissimo maestro di lungo corso, ha dato una visione non meno che sensazionale.
L'insolita personalità di Borodin, la dedizione all scienza e il naturale talento artistico, l'inducevano a dichiarare che se la chimica era sua moglie la musica doveva esser la sua amante, mai paventando di dover dare la caccia a due lepri all volta. Si dedicò per 17 anni al "Principe Igor" senza portarlo a compimento. Compositore della domenica, per le "Danze polovesiane" si documentò col massimo impegno nel folclore della Russia profonda. Rozdestvenskij ha acceso tutte le luci dell'orchestra e ben guidato il coro femminile (addestrato da Marcovalerio Marletta) nel render ancor più scintillante f'un orientalismo tutto esibito la struggente melodia "Sulle ali del vento", della quale Hollywood in modo truffaldino si è impadronita per "Stranger in Paradise" d'un film di Vincente Minnelli del 1955. Risaltavano gli accenti nostalgici e suggestivi di flessuosa sensualità, gli atteggiamenti violenti e primitivi, il turbinò vivacissimo dell'orgia finale. Coinvolgente la "Marcia" con il tripudio cadenzato di fiati e percussioni, rinforzati da strumentisi della banda dei Carabinieri.
Per converso ancor più tragica è risultata la carica espressiva, ansiosa e fremente della Patetica, specie in alcuni momenti culminati. Rozdestvenskij ne ha intensificato tutti i palpiti, anche quelli che di solito restano un po' nell'ombra, come il cupo richiamo d'un inciso del corale liturgico ortodosso ["Coi Santi"] al centro del primo movimento. La Patetica come il Requiem per se stesso. Altri accenti, di per sé deliranti, sono apparsi funerei nella desolazione. E tutto listato a lutto il Finale quando ogni suono si spegne nella progressiva dissolvenza, nell'inevitabile nulla.
Luigi Bellingardi, Corriere Della Sera, 26.1.09
London Philharmonic Orchestra, Brighton Dome, 8th November 2008
COMPLETE ENTERTAINMENT. How often do you hear that being said about a concert of classical instrumental music?
Well, for a start, I can't believe I'm the first person to be doing so, after all the time the magnetic and adored 77-year-old Gennadi Rozhdestvensky has been conducting in theatres around the world.
….Not only did he and Mrs Rozhdestvensky impart and draw from the LPO magnificent and hugely exciting performances on this night.
They played the full, uncut original score for the Concerto and made us realise what a great piece it is alongside, and not to be overshadowed by, the instantly popular No 1. She showed us towering strength of execution, sensitivity and artistry.
Then he showed us what a wonderful experience almost any orchestral piece is by one of the world's supreme tunesmiths. It doesn't have to be a symphony, a concerto, an opera, or a ballet score.
But I am holding back on talking about the element Rozhdestvensky brings to the world, and which some of us, who knows, might have been seeing for the last time, live on the concert platform.
Fear not, he shows no outward signs of infirmity. OK, he walks slowly and might not be inclined to climb the rostrum – but one senses he would rather stand at the same stage level as his musicians, with whom he communicates in myriad ways.
What I am about to report is not new, but next to me sat a nine-year-old girl on one side and two teenaged ones on the other, who were seeing him for the first time and were instantly hooked. So I know that a new generation will be reading here this kind of thing for the first time.
….Love, the only word that will do, poured out of him and torrented back from the audience. Watch out, should we be lucky enough, for Rozhdestvensky's return to Brighton. You will need to be quick.
Richard Amey, Littlehampton Gazette, 10.11.08
Revealing Tchaikovsky Series: LPO, Royal Festival Hall, 7th November 2008
The “Revealing Tchaikovsky” festival came to an end on a real high with two pieces that tend to be unfairly sidelined. In an earlier age, when ‘overtures’ used to be standard fare at concerts, then another neglected work – a real rarity – the 10-minute The Voyevoda would have been a further ‘revealing’ of Tchaikovsky. That aside, the evening’s music-making was full of character.
Gennadi Rozhdestvensky, now in his late-seventies, was at his magnetic best, irrespective of whether his baton was in his right hand, his left, or in neither, his numerous gestures and expressive face (always worthy of an affectionate smile from the onlooker) sometimes masking a textbook (certainly unambiguous) stick technique, but all of whatever he did served the music – so one’s ear informed.
Piano Concerto No.2 was played as Tchaikovsky originally planned it – on a large scale. Although he later had doubts and himself made alterations, it was Alexander Siloti who took these and also made swingeing cuts and further modifications, many of which Tchaikovsky rejected; nevertheless it was Siloti’s version that was published and held sway for many decades.
The “Revealing Tchaikovsky” programme suggested 37 minutes for the Original Version; somewhat underestimating the timing for even a ‘normal’ performance, which Mr and Mrs Rozhdestvensky were never going to give! Try 52 minutes! As in their early-digital recording for Decca (with the Vienna Symphony Orchestra), the first movement was launched as Allegro maestoso (rather than the marked Allegro brillante). If Viktoria Postnikova’s playing was sometimes hard-toned and monochrome, she was otherwise on top of the breadth and ambition of Tchaikovsky’s first thoughts and particularly flourished in the lengthy cadenza, which grew from Chopinesque fantasy to full-blown heroism. If the 25 minutes of the opening movement can sometimes seem somewhat repetitive, it was good to hear this outsize conception given an equally outsize traversal.
And the often-lovely slow movement is generous, too. Fully five minutes pass before the pianist enters, the limelight shared by violin and cello solos, played here respectively by Pieter Schoeman and Rachel Helleur with rich tone and eloquent phrasing, Rozhdestvensky investing the climax with a touch of greasepaint. The finale didn’t quite come off, rather too fast for some detail to register and with unsettling changes of pace – but it was alive with incident and bravura.
As for the delectable Suite No.3, this was a winner from start to finish, a simply marvellous performance that oozed personality in every bar, the LPO on its mettle for the assured if capricious Rozhdestvensky who brought this superb score to irresistible life. The opening ‘Elégie’ was intriguingly elusive as well as radiant, the following ‘Valse mélancolique’ heartfelt if shadowy, its middle section curiously reminiscent (now) of the corresponding part of the Elgar/Payne Third Symphony, Rozhdestvensky ‘revealing’ that two seemingly similar movements are actually quite different. Further contrast for ‘Scherzo’, delicately pointed, feather-light in execution and translucently sounded, muted trumpets (a Rozhdestvensky addition!) acting as specks of light in the fantastical ‘trio’.
As for the final, extended ‘Theme and Variations’ (more often played separately), the ‘Theme’ was here introduced as if of little consequence – until Rozhdestvensky presented each ‘Variation’ as commentaries of genius (which they are), one requiring, this time, a virtuoso solo from Schoeman and, another, a very sensitive solo from Sue Bohling on cor anglais, with much that was ingenious and expansively moving en route, culminating in a thrilling Polonaise, introduced with a stirring proclamation and rounded-off by a gesture of rhetorical splendour.
If the performance was compelling, it was also uplifting; it should at the very least have been recorded for the LPO’s archives, but sadly no microphones were in evidence!
Colin Anderson, www.classicalsource.com, 8.11.08
Tippett, 'A Child of Our Time', BBC SSO, Edinburgh International Festival, 30 August 2008
Tippett's plangent oratorio A Child of Our Time seemed an apt choice for the closing concert.
Written after the assassination of a German diplomat by a Jewish boy that triggered the Nazi's Kristallnacht in 1938, Tippett's cry against injustice echoes Handel's Messiah and Bach's Passions, inventively replacing hymns with spirituals. The veteran Russian conductor and friend of Tippett, Gennadi Rozhdestvensky, led the BBC Scottish Symphony Orchestra in a powerful, moving performance…
If you didn't have a lump in your throat by the final spiritual, you probably needed to check your pulse. All in all, a fine farewell do.
Sarah Urwin Jones, The Times, 02.09.08
Lasting about 70 minutes, A Child of Our Time seldom gets a concert to itself. Usually it is preceded by other music - Britten's Cantata Academica at the 1966 Edinburgh Festival, Mozart's G minor Symphony No 25 on a later occasion - yet who could have felt short-changed by Gennadi Rozhdestvensky's enthralling performance of it with the Festival Chorus and BBC Scottish Symphony Orchestra? It was the Festival's final event at the Usher Hall and, on the day after political agitators had disrupted a programme of string quartets, Tippett's pacifist message spoke eloquently for itself.
In Rozhdestvensky's hands, responsive as ever to fine British music, the entire oratorio glowed movingly. The orchestral interludes (tiny pastoral symphonies in Messiah vein, as the programme perceptively noted) were haunting. The soft, scarcely audible shimmer of violin tone, sprinkling like fine rain, was a literal highpoint in the performance. The spirituals, gradually emerging from the texture of the music, sounded duly spiritual.
Nicole Cabell, Jane Irwin, John Mark Ainsley and John Tomlinson were the soloists, Cabell's soaring descants ecstatically topping the sound of the choristers, Tomlinson's granite-hard bass adding its dark lustre to the evening. Trained by its new chorusmaster Christopher Bell, the Festival Chorus was in sterling voice. Rising out of the introductory orchestral lament, it set the tone of what was to follow. A Child of Our Time may be early Tippett, but it remains, as this performance confirmed, a profoundly articulate masterpiece.
Conrad Wilson, The Herald, 1.9.08
Royal Philharmonic Orchestra, April 2008
Gennadi Rozhdestvensky’s concert with the Royal Philharmonic Orchestra was essentially an exercise in grand manner music-making…The Mendelssohn was serenely beautiful.
…The opening movement (Sibelius) was magnificent in its evolutionary flow, with every shift in speed immaculately judged.
…Rozhdestvensky’s broad tempo and the weight of the RPO string sound spoke volumes during the oppressive opening of Beethoven’s Egmont Overture…
…The soloist for Chopin’s Second Piano Concerto was the conductor’s wife, Viktoria Postnikova. Her forthright approach to the outer movements emphasised Chopin’s muscularity…The central larghetto by contrast, was a model of exquisite reflectiveness, Rozhdestvensky, meanwhile, reminded us just how effective Chopin’s much-maligned orchestration can actually be.
Tim Ashley, The Guardian, 18.4.08
Russian conductor Gennady Rozhdestvensky remains as idiosyncratic as ever in his 77th year, grand master of all he surveys and an uncanny knack of letting music speak for itself without forcing in any direction. He lets it unfold unhurriedly without dynamic or tempo extremes, witness the Sibelius Fifth Symphony which some may say was slow – not as slow as Beethoven's Egmont Overture earlier! – but can anyone deny the majesty, the broad images of a Finnish spring on a dramatic landscape?
Rozhdestvensky out-Klempered Klemperer in Egmont, a granite-hewn opening signalling a very a broad performance. Even the finale was not the headlong rush it usually is, but the whole not short on drama.
Bernard Lee, Sheffield Telegraph, 24.04.08
Detroit Symphony Orchestra, March 2008
When Gennady Rozhdestvensky last conducted the Detroit Symphony Orchestra in 2001, he led one of the most brazenly dark and uncommercial symphony programs I've heard. The music included gloomy Rachmaninoff, obscure Britten, mystical Kancheli and the conductor's arrangement of Schnittke's black satire "Suite from Dead Souls."
This weekend the venerable 76-year-old Russian is exploring more unusual corners of the repertory with the DSO, though the mood is lighter and he also is leading the beloved Schubert's Symphony No. 9. Still, the music was anything but conventional Friday.
Rozhdestvensky has a unique presence. He is tall, preferring to stand on the floor rather than a podium. He favors quirky, minimal gestures, though an arm or hand will sometimes shoot out with sudden alacrity. There's a Svengali aura about him; he and the orchestra seem to commune on a high plane of mystery. Schubert's Ninth had the gravitas of being been delivered from the mountaintop but also in-the-moment spontaneity.
Rozhdestvensky drew a virile, Slavic tone from the orchestra, the low strings and brass as rich as dark chocolate, and the players spoke Schubert's glorious melodies in warm paragraphs. Paced by expressive and dynamic horns, the opening movement unfolded in fluid, even springy tempos, but Rozhdestvensky always had the long view in mind. By the finale, the music had grown deliberate and weighty, the on-the-beat accents evoking the accumulated wisdom of a long journey.
Before intermission, the conductor led two works the DSO hadn't performed in decades. Shostakovich's Piano Concerto No. 1 (1933), also called a Concerto for Piano, Trumpet and Strings, is a witty burlesque full of rapid mood swings, parody, a rousing, giddyap conclusion and just enough seriousness to keep it from slipping into slapstick -- a brooding slow-movement waltz is to die for.
Schoenberg's Chamber Symphony No. 1 (1907), heard in its full orchestra version, looks backward and forward at the same time, caught between late-romantic opulence and modernist angularity. Rozhdestvensky's suspense-filled phrasing and control of color italicized the twilight-of-tonality ambiguity.
Mark Stryker, Detroit Free Press, 02.03.08
Russian conductor Gennady Rozhdestvensky learned his craft at a time when the world moved more slowly. At age 76, this patrician maestro embodies a principle that today's younger conductors well might take to heart: Elegance trumps speed.
Finesse was everything in Rozhdestvensky's unforgettable account of Schubert's Symphony No. 9 in C major with the Detroit Symphony Orchestra Saturday night. The conductor challenged the DSO to play Schubert's grand symphony slowly, reflectively, precisely, and the band answered with a benchmark performance, radiant and thrilling.
It's not for nothing that the Schubert Ninth is known as the "Great C Major." Epic in scale, sweeping in its musical thought, it seems to harken back to the Beethoven Ninth, and many a modern conductor has whipped the "Great C major" into a froth of Beethovenian heroics. But not Rozhdestvensky.
From the start, he allowed Schubert's ideas to flow, to sparkle, to play off one another -- and always to sing. This was gentle, loving music-making, and not for a moment was it limp or lugubrious. Rohzdestvensky never permitted the rhythmic line to go slack, not in the ruminative slow movement or the scarcely faster scherzo or in the bright, broadly drawn finale.
If the DSO had never played this music at so restrained a pace, it surely never delivered it with greater finesse, either. The strings shone with crisp attacks and subtly sculpted phrases; the brasses were gleaming and spot on. The "Great C Major" is a workout for the first oboe, and DSO principal Donald Baker set a tone of fluency and concentration matched by the entire woodwind choir.
This Old-World Schubert was not lost on the audience, which saluted maestro and musicians with an energetic and prolonged ovation.
Rozhdestvensky opened his program with Schoenberg's Chamber Symphony No. 1, a work born in the first decade of the 20th century and fraught with all the angst and hot-house romanticism of that transitional time in music history. Many a Hollywood composer has tapped into this pre-atonal Schoenberg. Rozhdestvensky and the DSO showed why in a Technicolor performance.
Lawrence B. Johnson, Detroit News, 01.03.08
LAPO, February 2008
"To the Los Angeles Philharmonic, an orchestra that has venerated youthful conductors for a half-century, came a 76-year-old Russian this weekend who shuffled onstage at Walt Disney Concert Hall this morning and provided a profound demonstration that a maestro’s manifold abilities are not limited to conductors in their 20s, 30s or 40s.
It’s been nearly 18 years since Gennady Rozhdestvensky last conducted the Philharmonic (at that time, in the Dorothy Chandler Pavilion). One obvious question is why there was such a long gap between engagements."
"But how he communicates! He uses his hands — sometimes imperceptibly — his fingers (fluttering in much the same way we see from another Russian conductor, Yuri Temirkanov), and his eyes, head and face to draw what he wanted from the musicians. As was the case when Gustavo Dudamel conducted his Simón Bolivár Youth Symphony Orchestra last November, every gesture that Rozhdestvensky made today had meaning; nothing was extraneous (when you’re 76, you learn to conserve energy).
As things turned out, the two substituted pieces were the most effective selections in the concert. Rozhdestvensky was particularly effective in layering sounds. His tempos were never rushed but always seemed right. The orchestra played splendidly, especially given the very short notice. Solo contributions from Principal Oboeist Ariana Ghez in the second dance movement (the music used in the Broadway musical Kismet for the song Strangers in Paradise) and Concertmaster Martin Chalfour in several spots were particularly noteworthy.
The concert opened with Rimsky-Korsakov’s Russian Easter Festival overture, which could have used more bite and fury. Tchaikovsky’s Suite No. 3 in G Major, the post-intermission piece, turned out to be the afternoon’s disappointment.
Die-hard Tchaikovsky fans may have been excited to “rediscover” this rarely played piece but anyone who is indifferent (or worse) to the composer’s music was unlikely to be convinced, even though Rozhdestvensky conducted it with conviction and the orchestra played it expertly. Preconcert lecturist Russell Steinberg (a composer, conductor and UCLA professor) described the Suite as a series of “banal themes” developed into typically lush Tchaikovsky music. Count me in the unconvinced category."
Robert D. Thomas, Pasadena Star-News, 15.02.08
There was a podium on stage as usual Thursday at Walt Disney Concert Hall. But no one stood on it to conduct the Los Angeles Philharmonic.
Instead, legendary Russian conductor Gennady Rozhdestvensky, 77, chose to stand in front of it, which is also business as usual for him.
Rozhdestvensky wants to be on the same level with the musicians and close to them, preferring modest instructions, minimal gestures and only a few inflections now and then. Occasionally, he just lets the musicians play while he basks in their sound.
He wants that sound to be big and rich, especially for an all-Russian program, so he reconfigured the orchestra, which he last led in 1990, in its old seating, with the violins on his left and the violas, cellos and basses on his right.
The original program had to be quickly revised after pianist Viktoria Postnikova, his wife since 1969, fell ill earlier this week. In place of Rachmaninoff's Second Piano Concerto, Tchaikovsky's "Capriccio Italien" and the Polovtsian Dances from Borodin's "Prince Igor" were hurriedly rehearsed. But that rarely showed.
The Philharmonic has played both works within the last six years, but not Rimsky-Korsakov's "Russian Easter Festival," which opened the program, nor Tchaikovsky's Suite No. 3, which closed it. Those pieces, once staples of the repertory, haven't been dusted off by the Philharmonic since 1995 and 1971, respectively. That didn't show either.
Anyone expecting Old World, slush-pump indulgences was in for a surprise. Rozhdestvensky, who has headed the Bolshoi Theatre at three different periods of his career, has led dozens of world premieres, some dedicated to him, and he favors clean, modern playing.
He showed that Tchaikovsky could be muscular as well as emotional, and there were no neurasthenic undertones in either of the two works, even when they explored melancholic depths.
The conductor adroitly shifted between the meters and tempos in the various sections of "Capriccio Italien" and made the closing movement of the Suite No. 3, which choreographer George Balanchine used for his glorious 1947 ballet "Theme and Variations," resound with imperial splendor.
By Chris Pasles, Los Angeles Times, 16.02.08
Oslo Philharmonic Orchestra, Dec 07
It took a Russian to bring Hjamlmar Borgström back to the concert stage again. But not just any Russian. For it was Gennadij Rosjdestsvenskij, the last of the great Russian conducting legends, who led the way at the Oslo Concert Hall last night.
And it was he, too, who had taken the initiative in programming Borgström’s massive 1917 symphonic poem, “Tanken”. The work was last played by the Oslo Philharmonic 53 years ago.
It is a grandly laid-out late-Romantic piece, of a type we hardly knew existed in the Norwegian orchestral repertoire. Nicely screwed together too, even if it doesn’t plumb the great depths of its pretentious programme notes about the cosmic life cycle of a thought.
But Rosjdestsvenskij gave it everything and took charge of every note.
This he also did to good purpose in the monstrous Manfred symphony. Here we experience the Russian colour in Tsjajkovskij’s symphonic universe, with a distinctively drawn-out sound.
The composer paints with a broad brush and Rosjdestvenskij was not afraid to use every sound colour on his palette. It sounded broad and bold with a masterful control of all the elements, both large and small. Just what Tsjajkovskij needs.
Ståle Wikshåland, Dagbladet, 07.12.07
BBC Proms / Royal Philharmonic Orchestra, 05.08.07
"It’s always a treat to have Rozhdestvensky back: he teases out the music with the nudge-and-wink school of conducting, and with a razor-sharp mind behind it all. "
"Then Elgar’s Enigma Variations [...]. The transition into Nimrod was like a silk thread caught by the tip of the baton, and Dorabella danced like a member of the Ballets Russes."
Hilary Finch, The Times, 07.08.07
"...the peroration of the final passacaglia [Brahms’s St Anthony Variations] was achieved with finesse, and Elgar’s Enigma Variations were affectionately and often stirringly characterised."
Geoffrey Norris, The Telegraph, 07.08.07
"The Enigma Variations were beautifully done: tender, forthright and gloriously unsentimental."
Tim Ashley, The Guardian, 07.08.07
Prokofiev, ‘Romeo and Juliet’, RPO, RAH 17 May 06
'The Royal Philharmonic Orchestra gives a select number of concerts in the Royal Albert Hall – making the appearance of Gennadi Rozhdestvensky, in what had been billed a 'complete' account of Prokofiev’s ballet Romeo and Juliet, an event not to be missed…
'Easing the orchestra into the task ahead, Rozhdestvensky kept the ‘Introduction’ on a loose but atmospheric reign – emphasising incidental detail during the street scene of Act One, and only ratcheting up the tension appreciably at the point where the Prince forcibly intervenes in the dispute between Montagues and Capulets, then duly implacable in the dissonant Interlude that follows.
'The character numbers that open the scene of the Capulet Ball were affectionate without being indulgent – the famous ‘Dance of the Knights’ suitably portentous – without anticipating the emotional frisson during the extended sequence that comprises the ‘Balcony Scene’ and ‘Love Dance’. With the RPO suitably galvanised, the result electrified to a degree that those who can remember the pick of Rozhdestvensky's London concerts two decades ago will appreciate. Much of Act Two was on a par with this – notably an effortlessly witty ‘Dance with Mandolins’ (all four present and correct), and a warmly sonorous scene with ‘Friar Laurence’ (organ included). In the sequence that brings the deaths of both Mercutio and Tybalt, momentum built gradually but powerfully – the climactic funeral march properly crushing in its dynamism and intensity.
'…for all his idiosyncrasies of technique, [Rozhdestvensky] has an uncanny ability to put an orchestra on its mettle so that the playing inspires as well as delights. Such was true of much that was heard here, making one hope that his return to the RPO will not be long in coming. To which end – how about putting on Prokofiev’s Cinderella, uncut, this Christmas?'
Richard Whitehouse, Classicalsource.com
Pique Dame, Opera de Paris, May 2005
'La direction de Guennadi Rozhdestvenski, qui succédait au pupitre à son propre disciple, le flamboyant Vladimir Jurovski, méritait aussi cette reprise, du moins aux oreilles de ceux que n’ont pas rebutés la lenteur extrême de son interprétation. Peu sensible aux grâces mozartiennes de certains passages, Rozhdestvenski exacerbe toute la dimension tragique de l’oeuvre et en fait un opera du fatum. D’une rare précision, sa direction fait entendre chaque détail; loin de lisser les timbres, elle met en valeur la spécificité des pupitres d’un orchestra attentive au moindre de ses gestes, tout en témoignant d’une impressionnante puissance narrative.'
Didier van Moere, Concerto Net.com, 28/05/05
Orchestra del Teatro Carlo Felice, Genoa, March 2004
'Per la prima volta alla guida dell’Orchestra del Teatro, Rozhdestvenskij ha dipanto un precorso interamente russo – Glazunov, Rachmaninov, Ciaikovski – non solo con la naturalezza e la confidenza di una lunga consuetudine, ma, sopratutto, con l’impostiva sicurezza di una musicalitá illuminante e di una tecnica direttoriale trasparente: gesto essenziale, vivificato da contiui guizzi espressivi, da sottolineature sempre decisive per la determinazione dei nessi testuali e significanti, che hanno saputo svelare ogni aspetto delle partiture.'
W. Edwin Rosasco, Il secolo XIX, 7.3.04
Boston Symphony Orchestra, February 2004
‘Few conductors do so little and achieve so much as Rozhdestvensky.’
Keith Powers, The Boston Herald, 13.2.04
‘The performances were full of idiomatic lilt and vivacity, and in some of the more extravagantly free passages Rozhdestvensky trusted the orchestra enough not to beat time with his rapier baton, although who knows what his eyebrows were doing? They were probably dancing.’
Richard Dyer, The Boston Globe, 13.2.04
‘The genial Rozhdestvensky visibly took pleasure in all of this music, and in sharing it with the audience. And when did anyone last see members of the BSO grinning along with the music?’
Richard Dyer, 20.2.04
The Makropoulos Affair, Russian premiere, June 2003
‘Gennadi Rozhdestvensky…even managed to get Jenufa staged at the Bolshoi. The veteran conductor’s presence on the podium is therefore fitting and most welcome at the Helikon Opera where The Makropoulos Affair just had its Russian premiere. He guided the orchestra through the score with rock-solid assurance…and shaped the finale into the glorious musical flowering it’s meant to be. Indeed, one felt that this eminence grise set the tone.'
George Loomis, The Financial Times, 26.1.03
Tchaikovsky, ‘The Oprichnik’, Italian premiere, Cagliari, January 2003
'Rozhdestvensky abbassa di un metro il pavimento del golfo mistico acche la ricca e colorita orchestrazione non copra le voci: con cio ottene anche il risultato di esser sempre invisibile al pubblico, condizione che molti direttori rifiuterebbero con sdegno. La raffinatezza della sua concertazione e proverbiale; il pathos che gradatamente infonde alla partitura e addirittura inatteso; non si manchera di conservare come la sua curs dell’ "Arioso" si spinga nei minuti particolari; piu ancora interessa rilevare come egli riesca a liberare gl’interptreti, quasi tutti russi, da certe caratteristiche esecutivamente "dialettali"sempre ricorrenti, come l’ecesso di "vibrato". Cantanti, orchestra e cori si esprimono in una sola lingua musicale.’
Paolo Isotta, Corriere della sera, 12.1.03
'Le molte forze congiunte si avvalgono di un direttore di aristocratico lignaggio Gennadi Rozhdestvensky, guida pacata ed attenta agli equilibri in orchestra.'
Claudio Gherbitz, Il piccolo giornale di Trieste, 12.1.03
'Dirige Gennadi Rozhdestvensky con pacatezza quasi didattica, sostenuta dall’equilibrato apporto dell’orchestra caglaritana.'
Mario Messinis, Il Gazzettino, 13.1.03
'Esperta, paziente, addatta alla lunga durata la direzione di Rozhdestvensky.'
Giorgio Pestelli, La Stampa, 13.1.03
'Al podio, l’applaudatissimo Gennadi Rozhdestvensky guidava da par suo la partitura, evidenziandone gli egregi valori apprezzabili anche solo sotto il profilo di musica assoluta…'
Giovanni Carli Ballola, Il mattino, 16.1.03
Toronto Symphony Orchestra, May 02
'…Rozhdestvensky conducted…without an ounce of flashiness… He even declined a podium, standing on the stage floor. The conductor, who turned 71 a couple of weeks ago, also has the benefit of more than half a century of music-making, as well as close connections with the most important Russian composers of the last century. And that experience showed: his gestures were full of clear intention but conveyed a trust in the musicians’ abilities. A gesture to an orchestral soloist, often accompanied by a smile, seemed more a gracious invitation than a cue… He also refused to be tyrannised by barlines, letting ambiguities of metre tease the audience instead… And let’s hope Rozhdestvensky will be a regular visitor to the TSO.'
Tamara Bernstein, The National Post, 17.05.2002
'Gennady Rozhdestvensky, one of Russia’s true masters of the baton…His engagement of the orchestra is equally masterful. With his subtle hands and explicit wand, he draws each player into the focus of his interpretive intent.'
Ken Winters, The Globe and Mail, 17.05.2002
Budapest Festival Orchestra, March 2002
‘His virtuosity as a conductor is wonderful. The power glows from his personality. At the same time he has the self confidence of a lion tamer and the archness of a clown who – as we know – can be sad too. Rozhdestvensky convinced me of the value of Erkel’s music…
From this evening we will remember particularly the Dohnanyi Symphony and of course the 71 year old Gennadi Rozhdestvensky’s roguish smile which had shaped the flexible and responsive Festival Orchestra.’
Budapest Press, 03.02
World premiere of ‘The Gambler’ (original version), Bolshoi Theatre, June 2001
‘Gennady Rozhdestvensky demonstrated in this production an almost forgotten excellence. There was a wonderful scherzo interlude after the scene of roulette…with Rozhdestvensky’s interpretation, this entire act has been turned into the culmination of the performance.’
SPRKFV, 21.6.01
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