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Concertgebouworkest

“Although Stravinsky's music has no weaknesses, it was mainly the perspective on the dramaturgy of the whole that was enriching. Mäkelä masterfully controlled the arc of suspense, provided clarity and excitement, and when the highlights came in the finale - the 'Hell Dance', the 'Weeping Song' - the effect was cathartic. I have rarely heard these songs as sensationally well as the {…}
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New York Philharmonic

“It’s taken a few months, but the New York Philharmonic finally sounds at home in its new home. That became clear earlier this month, as soon as the ridiculously young Finnish conductor Klaus Mäkelä gave an almost invisible nod and started a tensely ravishing performance of Tchaikovsky’s Sixth Symphony, the Pathetique. The bassoon climbed slowly out of a bog of trembling {…}
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Oslo Philharmonic on tour

"In the orchestral suite, which Stravinsky developed from his own ballet "Le Baiser de la Fée", Mäkelä captures the rhythmic changes, including those between solos and tutti, with great precision while remaining light-handed in humorous understatement. Such serenity is otherwise only known from much older conductors: sometimes there is simply nothing to do, to listen, for example {…}
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Orchestre de Paris

"Some programmes are like a declaration of intent. To inaugurate the 2022-2023 season of the Orchestre de Paris (OP) at the Philharmonie, the music director, Klaus Mäkelä, opted for audacity and generosity. The generosity of a particularly dense programme, highlighting the full orchestra through two of the most physical works in the repertoire: Strauss' Zarathustra and Scriabin's {…}
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Oslo Philharmonic

”To be honest I can't remember ever having heard a more intense and sparkling orchestra performance in the Oslo Concert Hall. The chemistry between the Oslo Philharmonic and Klaus Mäkelä is extremely good ... It's simply moving to see what effort and energy every single musician contributes to the collective, but nevertheless extremely {…}
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Concertgebouworkest on tour

"The opening concert could not have been more musically captivating, more convincing …  Klaus Mäkelä conducts the Sixth with burning intensity, the contrasting power of the first movement in the most inflamed body tension, the illusory idyll of the Andante in all its ambiguity, the Scherzo as a grimly beautiful rhythmic obliquity and the Finale in the compulsion to destroy all {…}
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