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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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Concertgebouworkest

"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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Orchestre de Paris

"Envoûtée, envoûtante, la direction incisive de Klaus Mäkelä dégage une tension à la limite du soutenable, entre hédonisme sonore et acuité dramaturgique, tandis que la clarinette tentatrice de Pascal Moraguès se fait tour à tour sinueuse et tendre." "Bewitched, bewitching, the incisive direction of Klaus Mäkelä releases a tension at the limit of the bearable (in {…}
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Orchestre de Paris

"... Mäkelä impresses above all by his uncompromising musicality. He melts into the moment with the piece he is conducting, without the rapture coming at the expense of analytical perfectionism. Mäkelä is also versatile. In Bartók's Piano Concerto No. 3, he ensured a tight interaction with pianist Kirill Gerstein ... In Bruckner you saw his energy change instantly; from high to {…}
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Orchestre de Paris

"Ce qui n’empêche qu’il faut absolument regarder cette exécution plus qu’impressionnante ... ce que réalise le jeune Finlandais, directeur musical désigné de l’OP, en termes de maîtrise de l’architecture, de dosage des équilibres, de fusion sonore (et quel son d’orchestre!), témoigne d’une maturité que l’on n’a décidément pas le souvenir d’avoir {…}
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Oslo Philharmonic

"Sibelius’ music is in Mäkelä’s DNA and it was exciting to watch him bring a fresh perspective to the work. He barely took his eyes off the players, turning his score pages from memory, sometimes a few at once, conducting with an unflustered and mature economic elegance drawing on contrasts and textures. The players responded wonderfully, from the beguiling clarinet solo through {…}
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