“Ignited monumental chamber music: Together with an orchestra that breathes with her, Garanca proved that she currently represents the non plus ultra in the mezzosoprano
category. Grandiose the fusion of intensity and noble sound” Der Standard. PROGRAM Wagner: Five Poems for female voice and piano “Wesendonck Lieder”; Bruckner: Symphony No. 4 “Romantic”
“One of the most important Mozart interpreters of our days provided great excitement at the final matinee on Sunday: Ádám Fischer at the podium inspired the musicians to remarkable performances” Die Presse. PROGRAM Mozart: Symphony No. 1, K. 16; Serenade, K. 203 – “Colloredo”; Symphony No. 41, K. 551 – “Jupiter”
“…the voice of Netrebko grabs you as hard as it does. Already her first appearance is wonderful stage magic. Still she has this unstrained big full height, still she crawls into every role and lets all her vocal power shine out from there” Süddeutsche Zeitung. PROGRAM Arias and Scenes from Tchaikovsky’s The Queen of Spades, The Sleeping Beauty, Eugene Onegin and Iolanta
“The virtuosic and at the same time musical brilliance made the audience hold its breath. An experience” Der Standard. PROGRAM Schubert: Four Impromptus, D. 935 . Piano Sonata, D. 840, Impromptu No. 3, D. 899, Moment musical No. 3, D. 780; Janácek: In the Mists (V mlhách), Piano Sonata 1. X. 1905, Dobrou noc! (Good Night!); Bartók: Kanásztánc (Swine-herd‘s Dance) from For Children
“You have to start with the encore. Then you can understand why there were standing ovations and thunderous applause for Juan Diego Flórez, why the words ?great moment of the festival’ were heard among the audience. For the encore Juan Diego Flórez comes on stage with his guitar…a tango, then ?Cielito Lindo’, he lets the audience sing along, ?Ay ay ay ay’. A born entertainer” BR Klassik. Works by Beethoven, Mendelssohn Bartholdy, Strauss, Bellini, Verdi, Lalo, Massenet and Puccini
“The performances of the Salzburg percussion star with the Percussive Planet Ensemble always have something sporty and relaxed about them. How these breathtakingly virtuoso patterns finally culminated in three-four time techno touched even younger generations. An elementary concert event” Salzburger Nachrichten. PROGRAM Rihm: Tutuguri VI (Kreuze), Music after a poem by Antonin Artaud; Xenakis: Pléïades; Reich: Drumming (Part One)
“Rarely has the warmth that this miraculous movement evokes in people been so intense as in the matinee of the Camerata Salzburg on Sunday. Ottensamer’s interaction with the orchestra brought about another, for many, last unforgettable moment of this festival summer” Salzburger Nachrichten. PROGRAM: PÄRT: Cantus in memoriam Benjamin; MOZART: Concerto for Clarinet and Orchestra K. 622; STRAUSS: Metamorphosen for 23 solo strings
“Igor Levit tackled the wide-ranging program with characteristic technical brilliance and emotional engagement” The New York Times. PROGRAM Beethoven: Piano Sonatas Nos. 30-32
“Evgeny Kissin is one of the best technicians on the keys” Süddeutsche Zeitung. PROGRAM Liszt: Concerto for Piano and Orchestra No. 1; Stravinsky: L’Oiseau de feu (The Firebird)
“Fluid, but without hectic, Barenboim let the endless melody blossom, strength and tenderness were no opposites. Emmanuel Pahud from the Berliner Philharmoniker played the flute […] and was not the only celebrity in the orchestra: in addition to Barenboim’s son Michael as concertmaster and Kian Soltani as solo cellist, the conductor and pianist Lahav Shani, the successor of Zubin Mehta at the head of the Israel Philharmonic Orchestra, was on the double bass” Die Presse. PROGRAM Wagner: Siegfried Idyll for Chamber Orchestra; Schönberg: Chamber Symphony No. 1, Op. 9; Boulez: Mémoriale (…explosante-fixe… Originel) for solo flute and eight instruments; Beethoven: Große Fuge, Op. 133 (Version by Daniel Barenboim, 2020)
