Reviews

A Profile of Teodor Currentzis

“…a large swathe of the audience was beside itself with ecstasy, caught up in the energetic tour de force…”

“But then Dmitri Shostakovich. This – last – 15th symphony becomes an event – the fantastic Adagio- funeral march again becomes perfection. Here Currentzis’ tendency for the extreme is fully effective. Pain, agony, suffering: So much of grotesque tragic is hard to bear, but the outstanding soloists, the dialogue of brass and solo cello, do also proclaim something of a hidden hope within all the sadness.”

“Currentzis pushed the limits to the extreme, the musicians filling every bar, every note with passion. (…) Currentzis finished the brilliant evening with Shostakovich’s last symphony no. 15, that he shaped into a thrilling musical journey where happy moments, humour and profound grief each have a say within a most confined space. The orchestra responded to his instructions most precisely (…) Standing ovations from the audience.“

„(…) a milestone in the history of reception of this dark drama (…) no, this Verdi does not at all sound „beautiful“ in the common sense of the word. But as exciting, rhythmically explosive and characteristic as you would hardly be able to hear it in Italy.“

Without action on the surface to illustrate the action on stage linked so closely with the suggestive sound world of Verdi’s music. With an unparalleled sharpness, Teodor Currentzis colours the score with expressive accents and leaves finest piano glow, yes, even the frequent breaks vibrate before threatening voltage.

Shrill grotesque, abysmal blackness, dramatic culmination – Currentzis distinguished the music not only by sculpturing, he knows precisely bring these elements together. And the shiny predisposed Philharmonia Zurich follow him courageously.