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Guillermo García Calvo's baton elevates Ariadne auf Naxos to success
December 18th, 2024 |
The specialised press has also highlighted the magnificent work, in the Teatro de la Maestranza, carried out by Guillermo García Calvo at the baton.
Ópera Actual highlights García Calvo: "The Sinfónica de Sevilla had an excellent guest conductor, Guillermo García Calvo, who led the musicians and singers with a very clear concertation, without clouding anyone, but also without leaving the pit in the background. His Strauss was dramatic, seductive, Wagnerian? [...] there was, there is no doubt about it, an excellent rapport with the musicians of the orchestra".
In Diario de Sevilla we read: ‘"Another fundamental point was García Calvo's conducting, punctilious and millimetric in the prologue, with a chamber sound and sumptuous and morbid in the second part, extracting from the reduced orchestra a glorious brilliance and expansiveness. His vast experience in the pit is evident in the way he breathes with the voices, pampering them and carrying them to emotional climaxes’".
As for the ABC newspaper, it says of the maestro: "García Calvo went after the singers with care, in an opera that is very complicated to follow. In the spectacular finale it seemed that the orchestra filled the whole pit, offering a very spectacular finale".
Ópera World also speaks of the musical richness that is reflected in his work with the orchestra: "[...] all conducted by maestro Guillermo García Calvo at the head of the Real Orquesta Sinfónica de Sevilla, which as usual displayed a marvellous richness and strength of sound".
El Correo Web highlights García Calvo's great technique: "He is the author of that marvellous music to which, we note, Rechi has lent all his admiration, and the prestigious Guillermo García Calvo his intelligence and ductility to ensure that the thirty-six musicians of the Symphony make such a seductive score sparkle".
Ritmo highlights his great work as musical director in this title: "[...] García Calvo's work (always attentive to the singers) was in continuous progression, raising the temperature of the work as he turned the pages of the score. His great conducting (with an almost goldsmith's work) came to the fore in the second part, taking the music to a dimension of unusual beauty and seductive atmosphere which, by the grace of the special effects manufactured by the conjuror Strauss, is capable of turning a formation of little more than thirty musicians into a powerful symphony orchestra. Its final concertante climax was heartbreakingly intense, brimming with purity, beauty and grandeur. Don't miss it".
And Vargas Machuca talks about the balance, phrasing and melodic character of his musical direction: "The first winner and the person ultimately responsible for the musical aspect working like a gear, Guillermo García Calvo. [...] I would highlight the formidable balance of planes that he obtained from the Seville Symphony - silky and rounded, in no way inclined to brilliance - and the particularly curvilinear, melodic and sensual character of the phrasing. The work with the singers, for the rest, was very clear".
Ópera Actual highlights García Calvo: "The Sinfónica de Sevilla had an excellent guest conductor, Guillermo García Calvo, who led the musicians and singers with a very clear concertation, without clouding anyone, but also without leaving the pit in the background. His Strauss was dramatic, seductive, Wagnerian? [...] there was, there is no doubt about it, an excellent rapport with the musicians of the orchestra".
In Diario de Sevilla we read: ‘"Another fundamental point was García Calvo's conducting, punctilious and millimetric in the prologue, with a chamber sound and sumptuous and morbid in the second part, extracting from the reduced orchestra a glorious brilliance and expansiveness. His vast experience in the pit is evident in the way he breathes with the voices, pampering them and carrying them to emotional climaxes’".
As for the ABC newspaper, it says of the maestro: "García Calvo went after the singers with care, in an opera that is very complicated to follow. In the spectacular finale it seemed that the orchestra filled the whole pit, offering a very spectacular finale".
Ópera World also speaks of the musical richness that is reflected in his work with the orchestra: "[...] all conducted by maestro Guillermo García Calvo at the head of the Real Orquesta Sinfónica de Sevilla, which as usual displayed a marvellous richness and strength of sound".
El Correo Web highlights García Calvo's great technique: "He is the author of that marvellous music to which, we note, Rechi has lent all his admiration, and the prestigious Guillermo García Calvo his intelligence and ductility to ensure that the thirty-six musicians of the Symphony make such a seductive score sparkle".
Ritmo highlights his great work as musical director in this title: "[...] García Calvo's work (always attentive to the singers) was in continuous progression, raising the temperature of the work as he turned the pages of the score. His great conducting (with an almost goldsmith's work) came to the fore in the second part, taking the music to a dimension of unusual beauty and seductive atmosphere which, by the grace of the special effects manufactured by the conjuror Strauss, is capable of turning a formation of little more than thirty musicians into a powerful symphony orchestra. Its final concertante climax was heartbreakingly intense, brimming with purity, beauty and grandeur. Don't miss it".
And Vargas Machuca talks about the balance, phrasing and melodic character of his musical direction: "The first winner and the person ultimately responsible for the musical aspect working like a gear, Guillermo García Calvo. [...] I would highlight the formidable balance of planes that he obtained from the Seville Symphony - silky and rounded, in no way inclined to brilliance - and the particularly curvilinear, melodic and sensual character of the phrasing. The work with the singers, for the rest, was very clear".
