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Helsinki Philharmonic

"Mäkelä and HKO maintained the tension (in Mahler Symphony No.1). The bridles remained in the hand. This was characteristic of the whole interpretation: the mastery of the large phrases, the lightning-fast changes in the characters within them, natural as if breathing ... the fourth movement was magical. The energy intensified, and there was nothing more to wish for."Helsingin {…}
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Concertgebouworkest, Elbphilharmonie Hamburg

"Dmitri Shostakovich begins his Sixth Symphony from 1939 with a painful song of cellos, violas and woodwinds. And already here, in the first bars, one can experience everything that will define this remarkable concert. It is the warm and silky sound of the Concertgebouw Orchestra, the unconditional will to create together. And the energy and precision with which Klaus Mäkelä takes up {…}
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Symphonieorchester des Bayerischen Rundfunks

"Klaus Mäkelä conducted Mahler's Symphony No. 4 with ease, responsiveness and presence … Whoever can begin the slow movement so cautiously in the softest pianissimo, calmly build up the string chorus without any gestures of violence and organically increase the tempo without false impulses, is a conductor of the highest order."Süddeutsche Zeitung, Harald Eggebrecht, 9 October {…}
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Orchestre de Paris

"The conductor-orchestra couple has taken flight, in the magnificent creation of Unsuk Chin's very virtuoso Spira, and in Mahler's Symphony No. 1, which takes the time to unfold freely towards the climax. The suppleness of the conducting, the warm opulence of the sound, the continuity of the phrasing, all blossom in the sound space of the Philharmonie."Le Figaro, Christian Merlin, 24 {…}
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Orchestre de Paris, Granada Festival

"We heard a version (of Dvorak Symphony No. 9) that was exquisitely atmospheric, intense and narrative … And the sonorous vigour and preciousness did not diminish one iota in the Allegro con fuoco finale, where Mäkelä was able to link the synthesis of thematic elements with the Orchestre de Paris in this most joyful and dazzling interpretation." Scherzo, Pablo Rodriguez, 12 July {…}
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"Judging by the fantastically soft sounds of the strings in Messiaen's Les offrandes oubliées, the orchestra is in excellent shape despite the pandemic. How beautifully Mäkelä allowed the sound to blossom with a kind of underhand movement from the forearm. Above the last section of this symphonic meditation from 1930, Messiaen wrote: 'Extremely slowly (with great pity and {…}
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