Press

SEPTEMBER, 2017
(The Washington Post)

METROPOLITAN OPERA: For once, the Met Opera goes traditional for season opener

If there was a gimmick Monday, it was the gimmick of putting the opera in the hands of someone who actually knew how it was supposed to go....

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If there was a gimmick Monday, it was the gimmick of putting the opera in the hands of someone who actually knew how it was supposed to go. The conductor, Carlo Rizzi, made his Met debut in 1993 and has been active at major companies around Europe for years. I don’t know if leading this year’s opening night at the Met signals another uptick in Rizzi’s career, but it should, because he certainly gets Italian opera: his conducting had the taut, light, forward drive that this music calls for, without excessive lingering, soupiness or grandiloquence.

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SEPTEMBER, 2017
(VBPR)

Carlo Rizzi returns to the Metropolitan Opera to conduct 2017-18 season opening’s Norma

This September, Italian conductor Carlo Rizzi steps onto the Metropolitan Opera’s podium once again to open the 2017-18 season with...

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This September, Italian conductor Carlo Rizzi steps onto the Metropolitan Opera’s podium once again to open the 2017-18 season with Bellini’s Norma, in a new production directed by Sir David McVicar. He returns to conduct the bel canto masterpiece in New York having inaugurated the previous production, which opened in 2001 and was staged until 2013.

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JUNE, 2017
(El País)

Orquesta Sinfonica de Galicia - Respighi, Bartók, Shostakovich

Rizzi returned to the podium of the Galicia Symphony Orchestra, the last concert of the orchestra's silver anniversary season; they were...

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Rizzi returned to the podium of the Galicia Symphony Orchestra, the last concert of the orchestra's silver anniversary season; they were oxygen and fuel. They only needed enough heat or a spark to trigger the reaction and there returned the fire of the great music which orchestra and conductor ignited together so many times in this musical hearth of A Coruña called Palacio de la Ópera.

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JUNE, 2017
(VBPR)

Italian opera, bel canto and the future of conducting in safe hands with Carlo Rizzi

Ranking among today’s leading conductors, Carlo Rizzi’s vast repertoire ranges from the foundation works of the operatic and...

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Ranking among today’s leading conductors, Carlo Rizzi’s vast repertoire ranges from the foundation works of the operatic and symphonic canon to rarities by Bellini, Cimarosa and Donizetti. He is in high demand as a guest artist at the world’s most prestigious venues and festivals, not least for the insight and integrity of his musicianship and the visceral energy and psychological depths of his interpretations.

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MAY, 2017
(NRC Handelsblad)

Rigoletto, Dutch National Opera

Conductor Carlo Rizzi, a reliable Verdi veteran in front of the DNO, leads the Netherlands Philharmonic Orchestra with a clear hand, so that...

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Conductor Carlo Rizzi, a reliable Verdi veteran in front of the DNO, leads the Netherlands Philharmonic Orchestra with a clear hand, so that the tricky vocal and orchestral ensembles remain tight and the beautiful, sharp-edged men's chorus can make the maximum impression ("Zitti, zitti"). The success was thunderous. 

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MAY, 2017
(Het Parool)

Carlo Rizzi combines Opera with masterclass, Rigoletto

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MARCH, 2017
(Corriere Italiano)

Interview ahead of Orchestre Symphonique de Montréal's 'Italian Festival'

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JANUARY, 2017
(Hindustan Times)

La Bohème revisited, Symphony of India, NCPA Mumbai

Puccini composed the original. Who better to helm it than internationally renowned conductor Carlo Rizzi?

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Puccini composed the original. Who better to helm it than internationally renowned conductor Carlo Rizzi?

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DECEMBER, 2016
(Le Monde)

Cavalleria Rusticana/Sancta Susanna, Opéra national de Paris

Neither forgiving nor indecent, Mario Martone's staging favours transcendence. This is first perceived in the pit with an orchestra capable of...

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Neither forgiving nor indecent, Mario Martone's staging favours transcendence. This is first perceived in the pit with an orchestra capable of conveying the complexity of a sometimes Straussian score under Carlo Rizzi's lively direction.

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DECEMBER, 2016
(Télérama)

Cavalleria Rusticana/Sancta Susanna, Opéra national de Paris

In the orchestra pit, Carlo Rizzi's elegant and restrained conducting seems to marry the scenic austerity of Cavalleria Rusticana, before...

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In the orchestra pit, Carlo Rizzi's elegant and restrained conducting seems to marry the scenic austerity of Cavalleria Rusticana, before finding release, for Sancta Susanna, in the spectacular musical storm unleashed by Hindemith around his heroine.

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NOVEMBER, 2016
(The Times)

Feature: The new code of conduct

The new code of conduct: how to really swing your baton.
Top maestros divulge their trade secrets in the lead up to the LSO’s...

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The new code of conduct: how to really swing your baton.
Top maestros divulge their trade secrets in the lead up to the LSO’s conducting competition.

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NOVEMBER, 2016
(Olyix)

Cavalleria Rusticana/Sancta Susanna, Opéra national de Paris

Can you explain the choice of this combination?

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Can you explain the choice of this combination?

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JUNE 2016
(The Stage)

In Parenthesis, The Royal Opera House

Bell’s score is technically exceptional, with fine writing for soloists, chorus and orchestra and both an immediacy and a momentum that...

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Bell’s score is technically exceptional, with fine writing for soloists, chorus and orchestra and both an immediacy and a momentum that are entirely persuasive. Carlo Rizzi conducts an assured account of a piece that demonstrates a complete command of the operatic medium

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MAY, 2016
(BBC Music Magazine)

Carlo Rizzi Interview – ‘Music that changed me’

I wasn’t born to musical parents, so my introduction to music was very mainstream. I remember being captivated by Walt Disney’s...

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I wasn’t born to musical parents, so my introduction to music was very mainstream. I remember being captivated by Walt Disney’s film Fantasia …

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APRIL, 2016
(Classic Voice)

La Cena delle beffe (Teatro alla Scala)

I always find it interesting to approach rarely visited and little known works.

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I always find it interesting to approach rarely visited and little known works.

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MARCH, 2016
(Opera)

Carlo Rizzi interview ‘My opera city … Milan’

My opera city could only be Milan. Its where I was born and its home to probably the most famous opera house in the world.

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My opera city could only be Milan. Its where I was born and its home to probably the most famous opera house in the world.

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SEPTEMBER, 2015
(WhatsOnStage)

I Puritani (Welsh National Opera)

Sometimes people get confused as to what makes a good production. You'll hear people grumble 'Oh, it's a modern production', yet I've worked...

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Sometimes people get confused as to what makes a good production. You'll hear people grumble 'Oh, it's a modern production', yet I've worked on some phenomenally good modern productions and some boring traditional ones. It's about how you do it.

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MAY 2016
(The Independent)

In Parenthesis, Wales Millennium Centre, Cardiff

Under conductor Carlo Rizzi, Bell’s richly multilayered score supports the deft interweaving of realism and mythic fantasy...

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Under conductor Carlo Rizzi, Bell’s richly multilayered score supports the deft interweaving of realism and mythic fantasy byco-librettists Emma Jenkins and David Antrobus

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MAY 2016
(The Guardian)

Cavalleria Rusticana/Pagliacci, Wales Millennium Centre, Cardiff

The themes of love and betrayal seem sharply contemporary, as Carlo Rizzi, conducting from memory and with uttermost conviction, ensures their...

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The themes of love and betrayal seem sharply contemporary, as Carlo Rizzi, conducting from memory and with uttermost conviction, ensures their emotional veracity.

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24th JANUARY 2016
(Chicago Tribune)

Nabucco, Lyric Opera of Chicago

“To safeguard authenticity in the pit, Lyric brought in Carlo Rizzi, an Italian conductor experienced in the Verdi style. He had Lyric's...

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“To safeguard authenticity in the pit, Lyric brought in Carlo Rizzi, an Italian conductor experienced in the Verdi style. He had Lyric's admirable orchestra playing with a full-bodied yet richly detailed sound, the robust trombones and distinctively colored woodwinds in particular. In all, this was one of the most cohesive, exciting Verdi productions Lyric has mounted in years, filled with one crowd-pleasing moment after another.”

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OCTOBER 2015
(Opera Now)

I Puritani, Wales Millennium Centre, Cardiff

"Reviews of Bellini operas don't usually start with the conductor. However […] Carlo Rizzi's conducting touched a level of...

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"Reviews of Bellini operas don't usually start with the conductor. However […] Carlo Rizzi's conducting touched a level of intensity and understanding that might not unreasonably be described as great."

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SEPTEMBER 2015
(The Times)

I Puritani, Wales Millennium Centre, Cardiff

“What gives this show its compulsive force, however, is the energy of Carlo Rizzi’s conducting and the impassioned singing of the...

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“What gives this show its compulsive force, however, is the energy of Carlo Rizzi’s conducting and the impassioned singing of the cast and, particularly, the chorus. Rizzi simply refuses to let the tempos sag, even when his singers seem to want more time, and he is right: Bellini needs this impetus.”

19th SEPTEMBER 2015
(The Spectator)

I Puritani, Wales Millennium Centre, Cardiff

“What may remain most vividly in the memory is the supreme conducting of Carlo Rizzi and the equally impassioned playing of the...

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“What may remain most vividly in the memory is the supreme conducting of Carlo Rizzi and the equally impassioned playing of the wonderful orchestra.”

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JUNE 2015
(Bachtrack)

Cavalleria rusticana/Pagliacci (Teatro alla Scala, Milan)

“Musically straightforward, Mascagni’s charming, intensely melodic hooks were rendered technicolor beauties by maestro Carlo...

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“Musically straightforward, Mascagni’s charming, intensely melodic hooks were rendered technicolor beauties by maestro Carlo Rizzi. Low on shading and ruckus, Rizzi allowed negative spaces their respectful ebbs and flows… Pagliacci's high color, closer to Verdi than Mascagni, was taken in lush, expressive cadence by Rizzi.”

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JUNE 2015
(Corriere della Sera)

Cavalleria rusticana/Pagliacci (Teatro alla Scala, Milan)

“Conductor Carlo Rizzi governs the theatrical machine and the singing very well, without missing any opportunities to enhance the...

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“Conductor Carlo Rizzi governs the theatrical machine and the singing very well, without missing any opportunities to enhance the lyricism in symphonic passages.”


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MAY 2015
(Opera)

Un ballo in maschera (La Monnaie)

“Another delight of the evening was Italian conductor Carlo Rizzi’s direction, drawing a very precise and dynamic delivery from...

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“Another delight of the evening was Italian conductor Carlo Rizzi’s direction, drawing a very precise and dynamic delivery from the orchestra, rich in instrumental detail and with an extraordinary dramatic intensity. Many passages are meritorious, such as the very interesting E scherzo od è follia, where the laughing climate suddenly turns into a tense and worried atmosphere, hinting at the tragic outcome, and the second act in its entirety, conducted with great dramatic urgency. The accompaniment of the arias is excellent; here Rizzi introduces a slow pace, still charged with emotion, thus conferring a nobility and eloquence of his own to the Verdian andante. The la Monnaie Symphony Orchestra and Choir get to prove themselves as extremely flexible, and follow the vivaciousness of the direction without difficulty.”

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MAY 2015
(BRF)

Un ballo in maschera (La Monnaie)

“With his musical interpretation, Carlo Rizzi brings an amazing awareness to the complexity of the plot. The orchestra of La Monnaie,...

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“With his musical interpretation, Carlo Rizzi brings an amazing awareness to the complexity of the plot. The orchestra of La Monnaie, under Rizzi’s leadership, enforces a great moment. As sensual as it is gripping, it is lit up from the orchestra pit; that is terrific music theatre. And the singers correspond in excellent shape.”

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MAY 2015
(De Standaard)

Un ballo in maschera (La Monnaie)

“Conductor Carlo Rizzi fascinates, with immersive tempos and tight attention to detail.”

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“Conductor Carlo Rizzi fascinates, with immersive tempos and tight attention to detail.”

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MAY 2015
(Crescendo)

Un ballo in maschera (La Monnaie)

“The night’s big triumph was without a doubt the maestro Carlo Rizzi: he follows on a long tradition of conductors grounded in...

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“The night’s big triumph was without a doubt the maestro Carlo Rizzi: he follows on a long tradition of conductors grounded in lyrical repertoire that has always demanded our admiration. His lively and sustained leadership, delivered with complete efficiency, generated warm applause from the audience.”

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MAY 2015
(Deutschlandfunk)

Un ballo in maschera (La Monnaie)

“Carlo Rizzi’s accompaniment, with the Monnaie Symphony Orchestra, is as prudent as it is gripping. Musically, the evening is at...

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“Carlo Rizzi’s accompaniment, with the Monnaie Symphony Orchestra, is as prudent as it is gripping. Musically, the evening is at its best.”

MAY 2015
(De Volkskrant)

Un ballo in maschera (La Monnaie)

“The conductor, Carlo Rizzi, delivers a phenomenal performance. Under his leadership even the smallest and seemingly insignificant...

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“The conductor, Carlo Rizzi, delivers a phenomenal performance. Under his leadership even the smallest and seemingly insignificant hahaha staccato notes in the choir carry extreme tension.”

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JUNE 2015
(Corriere d’Italia)

In conversation with conductor Carlo Rizzi

Carlo Rizzi at the Opera Awards

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Carlo Rizzi at the Opera Awards

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MAY 2015
(Brussel Nieuws)

In conversation with conductor Carlo Rizzi

Subject: Un ballo in maschera (La Monnaie)

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Subject: Un ballo in maschera (La Monnaie)

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30th MARCH 2015
(Klassiek Centraal)

In conversation with conductor Carlo Rizzi

Interview with conductor Carlo Rizzi in Antwerp

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Interview with conductor Carlo Rizzi in Antwerp

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JANUARY 2015

International Opera Award

Carlo Rizzi shortlisted for a 2015 International Opera Award in the Conductor category!

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Carlo Rizzi shortlisted for a 2015 International Opera Award in the Conductor category!

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MAY 2015
(La Libre Belgique)

Un ballo in maschera (La Monnaie)

“… Carlo Rizzi conducts with an expert yet sensual touch.”

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“… Carlo Rizzi conducts with an expert yet sensual touch.”

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MAY 2015
(ForumOpéra)

Un ballo in maschera (La Monnaie)

The ultimate prize of the evening goes to the orchestra and their maestro, Carlo Rizzi. Conducting entirely from memory, yet attentive to...

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The ultimate prize of the evening goes to the orchestra and their maestro, Carlo Rizzi. Conducting entirely from memory, yet attentive to every detail, completely engaged in the singers’ perspectives, he builds the dramatic tensions of the score with remarkable mastery, so that the sequences are perfectly fluent and the whole partition seems entirely made as one. Not a moment of weakness, not the slightest relaxation, but the whole thing is conducted with intelligence and sensitivity that fully do Verdi’s great work justice.

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28th DECEMBER 2014
(Hugh Canning)

2014: A Year in Review (Sunday Times)

Outside London, opera companies may be struggling to fill theatres, but that hasn't inhibited their enterprise.David Pountney's Welsh National...

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Outside London, opera companies may be struggling to fill theatres, but that hasn't inhibited their enterprise.David Pountney's Welsh National Opera repertoire encompassed ... Rossini's Guillaume Tell and Mosè in Egitto all challengingly staged and plainly benefiting from the superb conducting of Carlo Rizzi.

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10th FEBRUARY 2015
(Dernières Nouvelles d'Alsace)

Beethoven’s Symphony No.6

“There was a lovable flow in the sound stream under the baton of the Italian conductor, who in the second movement [of Beethoven’s...

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“There was a lovable flow in the sound stream under the baton of the Italian conductor, who in the second movement [of Beethoven’s Symphony No.6] also let the effects of the musical storm shine through after the birds’ chirping.”

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7th FEBRUARY 2015
(Mittelbadische Presse)

Rizzi conducts Martinů's orchestral work, Les Fresques de Piero della Francesca

"The concert opened with Martinů’s very impressive tone poem, “The Frescoes of Piero della Francesca” (premiered in...

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"The concert opened with Martinů’s very impressive tone poem, “The Frescoes of Piero della Francesca” (premiered in 1956 in Salzburg), which refers to the cycle of frescoes The History of the True Cross. Rizzi got everything out of the work. The dynamic range was brilliantly exhausted by the orchestra and revealed the intentions of the Czech composer admirably… Carlo Rizzi put on the finishing touches, with every last detail accented perfectly… Rizzi conducted by heart with a vigorous devotion, but also with extreme subtlety when required. The Orchestre Philharmonique was excellent. Also fantastic was the sound specifically called for between the sections of the orchestra and soloists. "

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FEBRUARY 2015
(Gramophone)

CD review - de Falla recording with the Basque National Orchestra

It was an inspired idea to team Pérez up with the Basque National Orchestra, founded in 1982, under the experienced Carlo Rizzi for...

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It was an inspired idea to team Pérez up with the Basque National Orchestra, founded in 1982, under the experienced Carlo Rizzi for 'Nights in the Garden of Spain.'

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FEBRUARY 2015
(International Record Review)

CD review - de Falla recording with the Basque National Orchestra

"In Short, this recording deserves the highest possible recommendation."

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"In Short, this recording deserves the highest possible recommendation."

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13th NOVEMBER 2014
(Lucy Jeffery)

Carlo Rizzi and RWCMD give a Moving Performance of Britten’s War Requiem

To mark the hundredth anniversary of World War One, Carlo Rizzi conducted the orchestra and chorus of the Royal Welsh College of Music and...

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To mark the hundredth anniversary of World War One, Carlo Rizzi conducted the orchestra and chorus of the Royal Welsh College of Music and Drama in a touching performance of Benjamin Britten’s War Requiem, Op. 66 at Cardiff’s St David’s Hall...
It is in this inconsolably shattering terrain that Britten leaves his listeners stranded and alone, lamenting with soprano Alwyn Mellor on “this day full of tears” (Dies irae). Mellor’s voice had an arresting transparency, as devoid of piercing shrillness, it floated serenely above the groundswell of the orchestra. Mellor’s performance was controlled throughout; she demonstrated fine musicianship through her humility and emotive responsiveness to the orchestral backdrop. Italian conductor Carlo Rizzi was sublime in creating this barren landscape of futile hope and sorrow by keeping any grand orchestral sweeping gestures within a tight rhythmical frame. Along with Rizzi, Neil Ferris and James Bingham (chorus directors for the college chorus and children’s chorus, respectively) must also be congratulated for their fine leadership.

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SEPTEMBER 2014

BBC Music Magazine - Music to my Ears

Early on in my career, I substituted for Klaus Tennstedt in a programme of Mahler with the London Philharmonic Orchestra, as he was ill. I was...

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Early on in my career, I substituted for Klaus Tennstedt in a programme of Mahler with the London Philharmonic Orchestra, as he was ill. I was curious to listen to his live Mahler recordings, and began with No.4. And I got really hooked into it! I love the way he conducts Mahler - its very understated in a way, but really fantastic. Of all his Mahler recordings, I particularly like the Fifth and Sixth Symphonies.

When I was growing up in Italy, the pianist Elisabeth Leonskaja didn't perform much in my country - I grew up listening to Pollini much more. But later on, when I was recording for Teldec, I got a copy of Chopin Nocturnes she did for the same label. Pollini is fantastic, but Leonskaja really flows. A lot of pianists make a real show of the little embellishments in Chopin but she just makes them part of the musical journey.
(excerpt from BBC Music Magazine September 2014)

NOVEMBER 2014
(OPERA Carlos Maria Solare)

Armida: Rossini Festival Pesaro

'... I had to keep reminding myself that I was reviewing the performance, so big was the temptation to just sit back and enjoy the colourful...

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'... I had to keep reminding myself that I was reviewing the performance, so big was the temptation to just sit back and enjoy the colourful refined score of Armida, beautifully delivered by the orchestra of Bologna's Teatro Comunale under Carlo Rizzi.'

18th NOVEMBER 2014
(Opera, December 2014)

Moses in Egypt, WELSH NATIONAL OPERA

'…In an excellent cast, the outstanding performer is Claire Booth in the role of Elcia …
The WNO Chorus was in...

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'…In an excellent cast, the outstanding performer is Claire Booth in the role of Elcia …
The WNO Chorus was in wonderfully resonant form and the orchestra too …
Rizzi's tight grasp on proceedings ensuring a performance to remember.'

4th OCTOBER 2014
(The Telegraph)

Moses in Egypt, WELSH NATIONAL OPERA

‘…David Poutney’s broadly stylised direction of this farrago is colourful, and WNO fields a strong cast, rigorously...

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‘…David Poutney’s broadly stylised direction of this farrago is colourful, and WNO fields a strong cast, rigorously conducted by Carlo Rizzi. Two excellent tenors, David Alegret and Barry Banks, cope effortlessly with the technical challenges, while Claire Booth and Christine Rice turn their arias into show-stoppers…’

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31st AUGUST 2014
(by Hugh Canning)

An Italian in Wales

The Italian Maestro Carlo Rizzi has spent the past three months immersed in serious Rossini - a new production of Armida at the Rossini Opera...

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The Italian Maestro Carlo Rizzi has spent the past three months immersed in serious Rossini - a new production of Armida at the Rossini Opera Festival, in Pesaro - and will spend the next three immersed in more with the Welsh National Opera in Cardiff. There he takes charge of a brace of relatively unfamiliar works: the newly fashionable French Grand opera Guillaume Tell and (1829) and the Neopolitan opera seria Mosè in Egitto (1818). Rizzi is collaborating with WNO's artistic boss, David Pountney, who directs both shows;neither has been fully staged in Britian for nigh on 30 years.

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13th JANUARY 2014
(VBPR)

Acknowledged Maestro

Rave reviews for Rossini, a series of compelling concert programmes and forthcoming dates with the world’s leading opera companies...

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Rave reviews for Rossini, a series of compelling concert programmes and forthcoming dates with the world’s leading opera companies underline Carlo Rizzi’s star status.

…The Italian maestro’s recent work in Cardiff and on tour with Welsh National Opera (WNO) attracted media superlatives and audience ovations. His insightful interpretations of Guillaume Tell and Mosè in Egitto, presented by WNO in David Pountney’s new stagings, underlined his credentials as one of the world’s finest Rossinians. Both productions were greeted by critical superlatives and a torrent of positive reviews for Carlo Rizzi’s part in bringing them to life…The conductor’s busy schedule in the opera house contains room for more than a dozen symphonic concerts before the season’s close… Forthcoming operatic highlights of Carlo Rizzi’s 2014-15 season include Puccini’s La fanciulla del West at the Deutsche Oper Berlin (13, 19, 22 & 28 March); a visit to La Monnaie in Brussels for twelve performances of Verdi’s Un ballo in maschera from 12 to 27 May; and the conductor’s return to La Scala, Milan for Cavalleria rusticana and Pagliacci (12, 15, 17 & 20 June)…

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7th OCTOBER 2014
(Seen and Heard International)

Superb William Tell from WNO and Empathetic Carlo Rizzi

‘Conducted with a complete understanding of Rossini by Carlo Rizzi, superbly played by the orchestra under his direction and (with only...

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‘Conducted with a complete understanding of Rossini by Carlo Rizzi, superbly played by the orchestra under his direction and (with only the most minor qualifications) very well sung, this William Tell was an almost unqualified triumph musically speaking …’

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22nd SEPTEMBER 2014
(Richard Fairman)

A bold start to the Welsh National Opera season [William Tell]

'... WNO is to be congratulated for starting with a pair of rarities – Rossini’s grand Guillaume Tell and Mosè in Egitto...

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'... WNO is to be congratulated for starting with a pair of rarities – Rossini’s grand Guillaume Tell and Mosè in Egitto ... David Pountney’s production is dark, sardonic, focused on a strong theatrical message ... a reason for the opera’s neglect has been the killer tenor role of Arnold. Here, WNO played its ace in Barry Banks, who has never sounded better, hitting top Cs with tremendous panache, bringing the French text vividly to life and radiating revolutionary zeal. With him and Clive Bayley’s baleful Gesler as rivals, the performance was in the grip of formidable opposites... The WNO Chorus and Orchestra, though, were on top form and conductor Carlo Rizzi often set the pulse racing. Rossini’s visionary call to liberty deserves no less.'