"...again a really impressive evening for the Ballett am Rhein, which positions itself in the great tradition of dance, and in a genial way....the performance of the very good Duesseldorf Symphony ...Dante Anzolini is a canny leader..."
Stefan Schmoe, Online Musik Magazin, May 15, 2010
"Finally Schlaepfer's Neither. The Duesseldorf Orchestra under the guidance of Dante Anzolini and the soprano Laexandra Lubchanksy work intensively in broad sound planes, the choreographer follow the music as if he accentuated the space than the time..."
Sylvia Staude, Frankfurter Rundschau, May 2010
"The principal section concerns the wrold premiere of Martin Schlaepfer's choreography to Feldman's Neither, the 'no-opera' on text by Samuel Beckett, that still was only the sound vehicle to music. M. Schlaepfer succeds to create the circle's quadratur, making something really not possible to choregraph into soemthing (seemingly) obvious....always coming back magic moments where music and scene harmonize...Dante Anzolini brings the Duesseldorfer Orchestra to a for long not heard high level."
www.deropernfreund.de, Martin Freitag, May 2010
"Prokofiev's music, which switches between melodic charm, rapid passageworks, lyric broadness and even ironie, demands -because of its rhythmic originalities and refined inspiration- highly developped playing culture. (That was) not a problem for the Brucknerorchester, under the guidance of Dante Anzolini, who had constantly an eye on the stage, the other on the orchestra's pit."
OONachrichten, Silvia Nagl, March 8, 2010
Performance proves NMSO worth saving (title)
"...surely, there could be no better argument for the survival of the NMSO than the brillant concert it proceeded to play at Popejoy Hall...Anzolini led (Brahms Third Symphony)... (with the) seemingly intent on polishing every detail. Anzolini applied his reading consistently throughout the work with a strong pulse and no lack of passionate outpouring... The Andante was a show of woodwinds with luxurious phrases, probing great depths of solemnity, as though a musical depiction of a sunset...The Poco Allegretto, no kpking Scherzo, sings a brooding minor theme. The finale expends all its energy in the first half, then slowly increases in glowing grandeur, ending with a quiet reverence -the very opposite sentiment of the mood in which the symphony began..."
Albuquerque Journal, D.S. Crafts, January 24, 2010
"..the often understimated Munchener Symphoniker orchestra ws in a splendid mood, played the Bach First Suite for Orchestra with romantic retro-sound -which one has to appreciate once again in the maelstrom of persistent search for period-music sound. Of course the Mozart Symphony in A Major KV 201 could sound more angular, but conductor Dante Anzolini much more felt like making the best out of the limitless dynamic finesse,"
Abendzeitung Muenchen, Christa Sigg, November 9, 2009
New Era Brings Buzz (and Big Budgets) to the MET (Title)
"...Finally, there was the company’s premiere production of Philip Glass’s landmark 1980 work, “Satyagraha.” For me, even during the prime creative period that fostered this work, Mr. Glass too often shifted into a default mode of ritualistic repetitions. Still, with Phelim McDermott’s totemic production, the sensitive conducting of Dante Anzolini, an admirable cast and the Met’s stalwart chorus, the opera emerged as a humane, often profound exploration of Gandhi’s courageous and savvy politics of nonviolence. The tenor Richard Croft brought aching poignancy to the role of Gandhi. And in the final performance, the tenor Alan Oke, in his Met debut, was a comparably moving and distinguished Gandhi.
Bringing this timely work to New York audiences was a smart move on Mr. Gelb’s part. Now it’s on to next season, full of his big, and expensive, plans."
New York Times, Anthony Tommasini, May 21, 2008
Full Review
"Conducting with spacious beauty, Dante Anzolini brings the score to a quiet,
magical finale"
New York Magazine, Justin Davidson, April 21, 2008
"Those who attend Philip Glass's "Satyagraha" at the Metropolitan Opera would be well-advised to read the program notes beforehand and then allow themselves to simply surrender to its hypnotic visual and musical magic....
...it is the hypnotic music that submerges the listener into an understanding of the concept. Sinking into it, one feels viscerally how repetition adds power, and how the individual commitment of each participant adds up to a political movement. Indeed, the music, which sounds simple, is very difficult to perform because of its long stretches without markers or variation and demands unusual concentration from its performers. The Met's forces were superbly up to the task. The orchestra of winds, strings and keyboards, expertly conducted by Dante Anzolini, expressed both stasis and relentless, onward flow. The excellent chorus supplied mass, texture and even menace: The opening of Act II, in which Gandhi is stalked by the citizens of Durban, features a men's chorus (costumed in clown-like colors) repeating the syllables "ha-ha-ha" to terrifying effect."
Wall Street Journal, Heidi Waleson, April 19, 2008
Full Review PDF
"...the evening...is accompanied by musicianship of the very high order. Conductor Dante Anzolini...keeps a tight rein..."
Variety, Eric Myers, April 15, 2008
"....the orchestra under Dante Anzolini makes the chugging ostinatos and shimmering arpeggios flirt with poetry."
Financial Times, Martin Bernheimer, April 15, 2008
"That the impressive young conductor Dante Anzolini, in his Met debut, kept the tempos on the slow side lent weight and power to the repetitive patterns. At times, though, during stretches in the opera when Mr. Glass pushes the repetitions to extremes, as in the wild conclusion to the final choral scene in Act I, the music became a gloriously frenzied din of spiraling woodwind and organ riffs...you are not likely to hear the long, ethereal sextet in the last act sung with more calm intensity and vocal grace than it was here....(at the end of the performance) the audience erupted in a deafening ovation..."
New York Times, Anthony Tommasini, April 14, 2008
Full Review PDF
"....everything that reached the eye and ear was on the same exalted level...the Met Orchestra, conducted by Dante Anzolini, an Argentine making his Met debut, let the arpeggios luxuriate. The sound was gorgeous...the singing, from soloists and chorus, was uniformely wonderful..."
Los Angeles Times, Mark Swed, April 14, 2008
Full Review PDF
"....an evening that moves forward like a dream....it provides an all too rare demonstration of the fact that new opera can indeed be contemporary art."
" If the work has a hope of reaching those (traditional opera) listeners, it is through the high musical standards of this production... placed it in the capable hands of Dante Anzolini, who made a memorable Met debut...by keeping the lyricism and finding the line in the music..."
Washington Post, Anne Midgette, April 14, 2008
"Musically, under Dante Anzolini, an Argentinean conductror making a splendid Met debut, things sound as fine as the staging looks..."
New York Post, Clive Barnes, April 14, 2008
"...Throughout the work, Glass threads the rhythms, increasing tempi, and mounting intensity of Indian raga. Also, given the profoundly spiritual nature of the enterprise, a listener can't be dismissed for detecting the echoes of Gregorian chants. Dante Anzolini, the conductor making his Met debut, brought all these implicit facets out with exacting nobility."
www.theatermania.com, David Finkle. April 13, 2008
"...an enormous success in the Linz Theater...the faithful standing public
greeted the conductor Dante Anzolini with stark applause"...."uncountable curtain calls"...
("almost private" section)
"Dante Anzolini, who luckily always returns to Linz, gave Delibes'music the
needed dynamics to make the choreography completely believable"
("Culture section")
Oberösterreich Nachrichten, November 12, 2007
Full Review PDF (German)
"The Vienna Symphony seemed to be enchanted with this program, so having played under the very secure and musical bathon of Mo.Dante Anzolini, it gave its very best"
Gerardo Leyser, www.mundoclasico.com, published November 21, 2007
Full Review (Spanish)
"Spain's flowers" (title)
"Dante Anzolini, with pointed bathon technique, and relaxed gestures -everyone was happy, not last the marvelled audience"
Markus Hennerfeind
WIener Zeitung, September 23, 2007
Full Review PDF (German)
"A time travel with new sounds"(title)
(in Ligeti's Piano Concerto)...the great solist (Nami Namkawa) found a dedicated and waked accompanying skills...(in Frank Zappa's music) the orchestra celebrated a full and deeply felt combination between classical and avant-garde harmonies with shuddering effect"
BS/AH
Kronen Zeitung Oeber Oesterreich, September 11, 2007
"Memorable concert in Teatro Argentino"(title)
Hector Coda
La Nación, August 27, 2007
Full Review (Spanish)
"La Traviata, at its best expression" (title)
"...the performance just offered in La Plata has the unquestionable merit of having reached the genuine and integral expression of Verdi's opera...an orchestra that literally embodied the composer's muscial verb, thanks to Dante Anzolini's bathon..."
Hector Coda
La Nación, May 19, 2007
Full Review (Spanish)
Teatro Argentino gets new Grand Steinway
Hector Coda
La Nación, December 16, 2006
Full review PDF (Spanish)
"The young Dante Anzolini provided from the podium a shiny performance [of Verdi's Otello] with a meticulously prepared Bruckner Orchester.To get in this house this genial and complicated score such a sound is simply art."
Georg Höfer
Neues Volksblatt,Austria, October 2, 2006.
Full review PDF (German)
"Much praise to the conductor Dante Anzolini, whose theater instinct secured an evening of uninterrumped tension."
Balduin Sulzer
Kronen Zeitung, Austria, October 2, 2006.
Full review PDF (German)
"... Dante Anzolini is a conductor who breaths with his singers, a precise and fiery opera conductor from the best Italian School...he prepared with the highly motivated Bruckner Orchester and...Chorus pure joy, pulsating passions and wonderful timbres."
Gottfried Franz Kasparek
DrehPunktKultur, Salzburg, Austria, October 2, 2006
"The Bruckner-Orchestrer, Dante Anzolini, a splendour"
pic
Oesterreich, Austria, October 2, 2006.
"Orchestra with new energy..."(title)
"....Intelligence and energy posesses this new name [Dante Anzolini] incorporated to the local musical life..."
Hector Coda
La Nación, Argentina, July 25, 2006
Full review PDF (Spanish)
"United by beauty"
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Stuttgarter Zeitung, Bruckner Orchester Linz, May 13, 2006
Full review PDF (German)
"Tonhalle: A genuine Bruckner from Linz (title).
"once could virtually see the springboard under (Anzolini's) feet...The guests from Upper Austria under Anzolini's firm beat moved the audience into rhythmic ectasy -Glass at his best...(with Bruckner's Fourth) .the spirit of Mahler seemed to announce itself...in the singing cellos of the second movement. The scherzo smelled of forest and moss....due to (the playing) of horns and an exceptional timbal player. The Finale was both brutal and tender, shy and proud -just a genuine Bruckner.
Peter Reichelt
Rheinische Post, Dulsserdorff, Germany, May 15, 2006
Full review (German)
"Dante Anzolini, a conductor with special clarity,dedication, and shrewdness... "
U. Strohal
Tiroler Tageszeitung, Austira, February 23, 2006
Full review PDF (German)
"Bernstein, Gershwin and Nino Rota would at the outset seem to make for an adequately popular concert, but the result is quite different if an outstanding conductor directs the group. Dante Anzolini is outstanding (exceptional, extraordinary) – moreover, he seems to view it as his calling to popularize the works of the second half of the 20th century, to seek out the young composers of our time."
Kónya Orsolya
Kontextus.hu, Budapest, December 16, 2005
Full review PDF
Full review PDF (Hungarian)
Full Review (Hungarian website)
“…lightning
end for the Symphonic subscribers in the Congress Center in
Villach: Dante Anzolini conducted the Bruckner Orchester Linz
with almost explosive gesture and urgency…”
FS
Krone Villach, Austria, May 5, 2003
“The concert finished with Gustav Mahler's First Symphony. A most exciting performance, with strong antagonisms between the utmost sublime and the apparently trivial within the composer's broad and complicated work...but (the antagonisms) melted together to a firm unity of enormous emotionality and beauty in the intense and expressive interpretation of Anzolini, which culminated in the triumphant sound explosion of the symphony's finale.”
Reidar Sunnerstam
Norrkoepings Tidningar, Sweden, May 4, 2003
“(in Philip Glass’ Akhnaten)
Dante Anzolini conducts masterly the Philharmonic Orchestra
of Strasbourg”.
Giuseppe Pennisi
Italia Oggi, November 5, 2002
“ the guidance of Dante Anzolini…is
superb in the elegiac passages… made of such a beauty
and wonderful sensuousness….”
Pierre-Emmanuel Lephay
www.forumopera.com,
November 4, 2002
“Dante Anzolini….(gave)…a
perfect interpretation in every point…” (Glass’
Akhnaten)
Marie-Fraançoise
and Francis Grislin
Hebdascope, France, November 2, 2002
“Dante Anzolini…his baton,
of an imperturbable precision, brings up a constantly clean
discourse…” (Glass’ Akhnaten)
Marc Munch
DNA Journal, Strasbourg, France, September 25, 2002.
“Anzolini is a well-trained and versatile
musician, with a charismatic podium presence…”
Richard Dyer
The Boston Globe, December 6, 2002.
“…in addition to being clear
and purposeful, there is operatic fire in his blood. The best
sections of the Mahler (Symphony N. 5) really sang with lyric
beauty, and the Adagietto was heartbreaking.”
Stephen Marc Beaudoin
South End News, Boston, October 31, 2002.
“ …(about Mahler’s Symphony
No. 1 performance) Anzolini's admirable textural clarity throughout
elicited fresh aspects, and engineered a characterful large-scale
process that attained its triumphant conclusion with panache.”
Malcolm Miller
Music & Vision Home Page
June, 2002
Full Review
“there is an orchestra which under
the direction of Dante Anzolini surpass (all the difficulties)
from the brighter Satie to the darker Weill, through the rarefied
crystals of Stravinsky….”
Diego Renda
Rivista Prometheus
Anno I. Numero 20. 4 Marzo 2002
Full Review
The Choral Arts Society engaged conductor
Dante Anzolini, who has recorded the work (Philip Glass Symphony
No.5) for Nonesuch, to conduct the local premiere. They should
engage guest conductors more often.
…the chorus and orchestra have never sounded so incisive
and taut. The playing was flexible and expressive, entrances
were generally sharp and together, dynamic changes articulated
with subtlety. The music flowed rather than lurched.
Philip Kennicott
Washington Post, November 13, 2001.
“Energy, commitment, and clarity
of intention all ran high, thanks to Anzolini’s uninhibited
exuberance and his information-packed, eminently readable
stick technique.”
Susan Larson
The Boston Globe, May 10, 1999.
Dante Anzolini brings out the best in MIT
Symphony (head title). “The MIT Symphony’s new
director, Argentina native Dante Anzolini, not only arrives
with an impressive resume...it was clear at the start that
Anzolini knew what he was after. And what’s more important,
it was clear that the players of this young and ambitious
community orchestra knew what he was after, too. They were
able to deliver it solidly and reliably, and at times even
with a suggestion of brilliance....In Verdi’s “La
Forza del Destino” Overture...you heard immediately
that the melodic lines were being shaped: not only the passionate,
yearning one for strings but the bare, bleak one for a handful
of winds, which can be a minefield. Grace notes were tidily
and expressively in place. When the piece heated up, the effect
was fresh and exciting. The program saw also a couple of ventures
outside the mainstream repertory...”
Richard Buell
The Boston Globe, October 26, 1998.
"...the vivid and splendid way of
music making of the Berner Symphonie-Orchester under the omnipresent
direction of Dante Anzolini..."
Svend Peternell
Berner Oberländer, Switzerland, January 20, 1997.
"That would be more evident when the
conductor Dante Anzolini tensed the big bows of the piece
in a very convincing and ample way with the Berner Symphonie-Orchester,
which after the soft elegance in Donizetti, gives a non pathetic,
mourning sound (... and sculptured with the singers ....at
the pit the lament and begging...)"
Richard Merz
Neu Zeitung Zürich, Switzerland, January 20, 1997.
"...and the Bern Symphonie-Orchester
made music under Dante Anzolini with sensitive and creative
force"
Silvia Garcia
Der Landbote, Winterthur, Switzerland, January 21, 1997.
"...with discretion, elegant and non-pathetic,
it left us a severe, conscious deepness that in the whole
of additions of the orchestral accompaniment (Conductor Dante Anzolini), the voice, and the dance, gave way to a great tension,
that brought the public to an explosion of enthusiasm."
Eva Buhrfeind
Solothurner Zeitung, Solthurn, Switzerland, January 21, 1997.
"...the Philharmonia's energy level
expanded as the symphony progressed, affording a triumphant
flourish at its conclusion"
Jonathan Litt
Yale Daily News, February 10, 1997.
"Concert of the Symphony revealed Dante Anzolini, a great conductor.( head title).. A wonderful concert
was heard in Belgrano Auditorium. Dante Anzolini’s consecration
with the National Symphony featured nothing less than the
performance of the first and second Suites of Daphnis et Chloe
of Ravel, which he conducted from memory with authority and
surprising resolve. Both the orchestra and the choir (celebrating
its 30th anniversary) performed above their level in front
of this charismatic young conductor of precise gestures, contagious
joy, and with passion to move the public achieving this enthusiastic
rendition from memory. The other triumph was the Elgar Concerto..."
Abel Lopez Iturbe, Ambito
Financiero, Buenos Aires, Argentina, August 18, 1997.
"Stars go by without being seen (head
title) Dante Anzolini led the orchestra with the efficiency
and nerve that was needed. It is unfortunate that this concert
could not be repeated, but it would be even worse if the public
forgot the young conductor capable of such a feat. This was
not the only feat, for he then dialogued with Daniel Zisman…...during
the difficult fifty minutes of the Elgar violin Concerto."
Napoleón Cabrera
La Prensa, Buenos Aires, Argentina, August 20, 1997.
"...very reassuring was, that also
the Berner Symphonieorchester, under the very sensitive direction
of its Milanese guest conductor Dante Anzolini, did not take
its work on the light side....and offered us a delicate, expressive,
a really worth it performance of Ravel's little Masterpiece."
M.F.
Der Bund, Bern, Switzerland, October 22, 1996. Familienkonzert.
"...(Mozart Marriage of Figaro) sounded
'different' under Dante Anzolini's musical direction in the
pit: more lively, spicy, and less in love with piano sonorities.
Anzolini's conception of Mozart has high merits, spontaneous
freshness, and a touching naturalness."
Etter
Der Bund, Bern, Switzerland, May 22, 1995.
“… the talent of this
man is undisputed. (He is a) Miracle worker. This time he
inspired the drowsy Klaipeda Music Theater troupe and in mere
20 days he supervised and conducted G. Verdi’s “La
Traviata.” Nowadays he works in Bonn as the assistant
of the Opera House’s conductor and vocal coach. I can
assure you that Dante Anzolini is not only a superb conductor
but also a cordial speaker.
Andrius Zara
Respublika, Lithuania, January 12, 1995.
“Klaipeda has not seen such music
success in years. The theatre that was undergoing reorganization
and was on the brink of collapse managed to pull together
a thrilling performance of G. Verdi’s “Traviata.”…(Anzolini)…
did not despair. Instead he worked 14 hours every day to put
the pieces together – to produce a magnificent musical
performance.”
Milda Augulyte
Klaipedos Zinios, Lithuania, January 13, 1995.
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