 |
Cutting like knives, then darkly shining like velvet
and breathing, this is how the orchestra of the Vienna State Opera sounded
during the overture conducted by the young “in-house” conductor Guillermo
García Calvo. He accentuated the dark colours and sharp attacks, conferring
apparently harmless details in a latently vibrant
shade. Sharp like knives and exciting was the fugato guided by the trumpet in
the final battle scene.
(Neues Deutschland, „Macbeth“, Wiener
Staatsoper, 16.12.2009) |
|
However, it was remarkable, and one more proof for the
quality of this performance, that the musical miscast of the true leading part
was not exaggeratedly disturbing. This might, among other reasons, probably and
above all be due to the extraordinarily subtle presentation of Verdi’s opus
rich in melodies, and to the elaborate instrumentation by the orchestra of the
Vienna State Opera. Contrary to initial worries about a possibly brutal sound
volume, knowing that the orchestra pit is traditionally placed in a high
position, and that most performances of “Macbeth” are characterized by martial
eruptions of sound, one could enjoy from the first note on a dynamic tour de
force of the musicians, guided by the attentive hands of Guillermo García
Calvo. The music flowed so smoothly and delicately, revealing almost every single
nuance of the score, in a way rarely heard at Verdi premieres at the Vienna
State Opera during the last two decades. Even under the direction of more
prominent names, hyped or not. The atmosphere was dominated by cohesion and
interpenetration, and interplay of triumphing and softening, as if everyone
knew about the importance of this evening. Apart from one single moment of
slight imprecision, due to the exuberant motivation or maybe to an irritation
caused by the tenor, this premiere was characterized by a well-studied choir
(by Thomas Lang) and pure splendour emanating from the orchestra pit. (Opernglas,
„Macbeth“, Wiener Staatsoper, 07.12.2009) Conductor Guillermo García Calvo
and the brilliant orchestra of the Vienna State Opera enthused by their
dramatic explosiveness, virtuosic predilection for details and instrumental
colourfulness. García Calvo’s motivating energy made the ballet fans submerge
in a stimulating and fascinating bath of alternating emotions. This is exactly
how all ballet performances should be! (Kronen
Zeitung, „Schwanensee“, Wiener Staatsoper, 26.10.2009) With the Spanish conductor Guillermo García Calvo the
orchestra of the Vienna State Opera is guided by a ballet conductor who knows,
in contrast to many of his predecessors, how to stimulate the musicians and
make them play with passion. The audience cannot but rejoice in such a bright
and dynamic way of music making. (Kronen Zeitung, „Mayerling“, Wiener Staatsoper, 25.09.2009)
Conductor Guillermo García Calvo conducted with great
success and knowledge. He literally had the best hand for Mozart and conducted
the highly dedicated orchestra of the Vienna State Opera with sovereignty.
Altogether, they provided the ideal fundament for the performance. (Der Neue
Merker, „Die Zauberflöte“, Wiener Staatsoper, 11.09.2009) Guillermo García Calvo conducts firmly and
dynamically at the same time. He is an attentive accompanist to the singers, a
precise guide to the orchestra of the Deutsche Oper. Without exception, he
manages Rossini’s musical winks with excellence, and to say the least, there
are quite a lot of them. Also, the choir of this German opera house leaves a
long lasting excellent impression under his conducting. (Berliner Morgenpost, „La
Cenerentola“, Deutsche Oper Berlin, 20.05.2009) When the orchestra plays the first piano notes under
the brilliant and precise conducting of Guillermo García Calvo, it then throws
itself at those incredibly long crescendi
that make you long for a climax. However you hope at the same time it will not
yet arrive, as every note sounds transparent and perfectly edged. When has the
orchestra of the Deutsche Oper, the winds above all, ever been heard play so
marvellously? Pure energy expands from the pit to the audience. (Neues
Deutschland, „La Cenerentola“, Deutsche Oper Such moments also need to be highlighted
on a musical level. The 31-year-old Spanish conductor Guillermo García Calvo,
who was engaged at short notice, not only dominates the musical dramaturgy, but
also the orchestra of the Deutsche Oper impressively well. His Rossini sounds
light, bright and yet never rigid; his rhythm is precise and impetuous. He
sovereignly contrasts pushing and slowing parts, such as the beginning of the
sextet just mentioned. (Berliner Zeitung, „La
Cenerentola“, Deutsche Oper Berlin, 20.05.2009) The dramatic power of the Nutcracker series just
started at the Vienna State Opera originates in the orchestra pit, where
Guillermo García Calvo conducts Tchaikovsky with interest in suspense, nuances
and interpretation. This is not always the case when it comes to ballet
performances. (Kurier, „Der Nussknacker“, Wiener
Staatsoper, 23.12.2008) Guillermo García Calvo conducted the orchestra of the
Vienna State Opera exhibiting an exemplary manner of conducting, vitality and
good taste while respecting the dancers’ needs. (Kronen Zeitung, „Coppélia“, Wiener
Staatsoper, 31.10.2007) The young Spanish conductor Guillermo García Calvo
surprised in his debut. He revealed a profound knowledge of the two works
performed, firm control over the orchestra and a lucid interpretation of every
score. A discovery. (La Nueva España, Teatro Campoamor de Oviedo,
17.08.2006) |