Concert Reviews

Jun 29, 2019

JANACEK – MAISON DE LA RADIO, PARIS, FRANCE

20 June 2019
Orchestre National de France, Radio France Choir

“Jukka-Pekka Saraste takes an Intellectual, conscientious approach to every work … in addition to mastering not only Brahms and Beethoven, he also excels in Mahler, Bruckner and Sibelius.”

“Janacek’s Glagolitic Mass…was excellently chanelled by Saraste”

24 June 2019
Vincent Guillemin, ResMusica.com

May 26, 2019

SIBELIUS – DE DOELEN, ROTTERDAM, NETHERLANDS

17 May 2019
Rotterdam Philarmonic Orchestra, Pekka Kuusisto

“Saraste achieves a spectacular balance in the orchestra, using the sound of the hall to bring about a light, almost playful quality, never weighing the music down”

17 May 2019
Yannik Eisenaecher, artstalkmagazine.nl

Mar 21, 2019

SHOSTAKOVICH/GERSHWIN – MUSIIKKITALO, HELSINKI, FINLAND

15 March 2019
Helsinki Philharmonic Orchestra, Joonas Ahonen

“…an unbeatable performance of Shostakovich’s fourth symphony. One powerful climax after another led to the final blow, followed by fading heartbeats”

“In Saraste´s interpretation everything was in place…the best performance I have ever heard in concert, and I have heard many”

16 March 2019
Jukka Isopuro, Helsingin Sanomat

Feb 20, 2019

MENDELSSOHN: ELIJAH – THEATER AN DER WIEN, VIENNA, AUSTRIA

16 February 2019
ORF Radio-Symphonieorchester Wien, Arnold Schoenberg Chor, Christian Gerhaher(Elijah), Maria Bengtsson, Maximilian Schmitt, Ann-Beth Solvang, Kai Rüütel

“Leading the Radio Symphonieorchester Wien, Jukka-Pekka Saraste furiously breathed life into the dense score with great clarity and urgent intensity, yet holding the orchestra back sufficiently to let the singers shine.. A fine musical evening, its power originating from its starkness.”

18 February 2019
Judith Belfkih, Wiener Zeitung

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Nov 28, 2018

SHOSTAKOVICH/BRUCKNER – GREAT FESTIVAL HALL, SALZBURG, AUSTRIA

14 November 2018
WDR Sinfonieorchester, Alban Gerhardt

“…this shows how exciting Beethoven can sound without period instruments.”

“The outstanding sound of the orchestra was most apparent in the funeral march, which was a triumph not least thanks to the fabulous woodwinds. And have you ever heard the three horns in the Scherzo played more brilliantly? At any rate, this Beethoven interpretation seemed to work like a charm.”

15 November 2018
Salzburger Nachrichten, Florian Oberhummer

Nov 23, 2018

SHOSTAKOVICH/BRUCKNER – COLOGNE PHILHARMONIE, GERMANY

10 November 2018
WDR Sinfonieorchester, Alban Gerhardt

“Powerful outbreaks of energy, brilliant crescendi and beautifully staged transitions.

…The perfomance was highly convincing and captivating; brilliantly played.”

12 November 2018
Kölner Stadt-Anzeiger, Markus Schwering

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Oct 23, 2018

DEBUSSY/SAINT-SAENS/SIBELIUS – SYDNEY OPERA HOUSE, AUSTRALIA

17,19&20 October 2018
Sydney Symphony Orchestra, Jean-Yves Thibaudet

“…superb performance…

…well-judged tempo contrasts, scrupulous dynamic control, dark-hued, unvarnished sonorities and tight-knit ensemble created a dramatic, intensely expressive interpretation that revealed an insightful understanding of the symphony’s distinctive structure and each movement’s specific character.”

18 October 2018
Murray Black, The Australian

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Sep 20, 2018

BERG/MAHLER – TONHALLE MAAG, ZURICH, SWITZERLAND

12, 13&14 September 2018
Tonhalle Orchester Zürich, Janine Jansen

“Saraste’s first movement was given an emphatic, exhilarating reading…graceful and elegant in the Ländler, properly savage in the Rondo-Burleske.
The final ‘dying’ movement was a glory, with enchanting solos from both concertmaster Andreas Janke and principal viola Gilad Karni. After almost inaudible closing bars, Saraste held the audience in the palm of his hand before allowing them to start the generous applause.”

14 September 2018
John Rhodes, Seen and Heard International

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Aug 3, 2018

STRAVINSKY – COLOGNE PHILHARMONIE, GERMANY

6&7 July 2018
WDR Sinfonieorchester, Pekka Kuusisto

“Bravi were elicited by the pagan spectacle of Stravinsky’s “Spring Sacrifice”, which, despite all its vehemence and coarse rhythms, notably puts the orchestra’s current playing culture to the test. And after eight years with Saraste, this is really impressive. Under his encouraging grasp, Stravinsky’s ballet machine “Le Sacre de Printemps”… reached the finish line as the winner; the bravi were well-deserved.”

9 July 2018
Olaf Weiden, Kölnische Rundschau

“Stravinsky’s music, oscillating between primitivism and construcivism, found congenial interpreters in the excellently prepared WDR Sinfonieorchester, which under chief conductor Jukka-Pekka Saraste transformed the Cologne Philharmonie into orgiastic pandemonium.”

9 July 2018
Rainer Nonnenmann, Kölner Stadt-Anzeiger

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