Marco Guidarini - Rayfield Allied

Marco Guidarini
Selected Reviews
La Traviata
Canadian Opera Company (October 2015)
“Marco Guidarini made a welcome return to the COC to conduct a lyrical and idiomatic reading of the score, choosing expansive
tempos which allowed the music to breathe, yet always considerate of the singers.” – Joseph So, Opera Magazine
“Behind all the vocalists was the solid accompaniment of the COC orchestra under the direction of Marco Guidarini.” – Robert
Harris, Toronto Globe and Mail
“Indeed conductor Marco Guudarini led the COC orchestra with a strong sense of drama and fuller-than-usual awareness of the
composer's seldom-acknowledged genius for orchestration.” – Arthur Kaptainis, The National Post
“Kudos to the Italian conductor Marco Guidarini who gets the COC orchestra to bring out the soaring lines and underlying
intricate rhythms in the score...” – Glenn Sumi, Nowtoronto.com
Mefistofeles
Prague State Opera (January 2015)
“Musically, this is one of the stronger pieces in the current schedule, and the orchestra under the direction of Marco Guidarini
plays the work flawlessly.” – Raymond Johnston, The Prague Post
“The greatest admiration has to go to the orchestra led by conductor Marco Guidarini.“ - Olga Janáčková, Harmonie
Les Vepres Siciliennes
Opera de Nice (September 2014)
“Un beau succès dont l’artisan principal est, en premier lieu, Marco Guidarini, lequel accomplit là un très bell équilibre entre
plateau vocal (11 protagonistes), masse chorale et orchestre. Sans effets inutiles, Guidarini sait leur donner respiration, soufflé te
couleur propre.” – Hervé Casini, La Tribune
“Marco Guidarini restitue, avec une rigueur fervente, l’architecture des ensembles concertants.” – Patrice Henriot, Opera
Magazine
”Marco Guidarini retrouve l’Orchestre philharmonique de Nice, dont il a été le directeur musical de 2001 à 2009. Le chef le
conduit avec dynamisme, sans bousculer les tempi, et établit un équilibre satisfaisant avec les chanteurs.” – Sebastien Foucart,
ConcertoNet
Madame Butterfly
Scottish Opera (May 2014)
“...conductor Marco Guidarini, who energises an orchestra that has been starved of inspiration for too long. What impressed at
Thursday’s opening night were not just Guidarini’s complete command of the idiom and his touch-tone control of dynamics, but
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Marco Guidarini
Selected Reviews
also the sense he conveyed of a score that moves quickly and seamlessly. Puccini’s masterly orchestration really blossomed.” –
Andrew Clark, The Financial Times
“The evening’s biggest pleasure came from the conducting of Marco Guidarini. Thanks to his natural command of the idiom and
touch-tone control of dynamics, he conveyed the sense of a score that moves quickly and seamlessly, and Puccini’s masterly
orchestration really blossomed. Guidarini is probably too experienced a conductor to want to spend more time in Scotland, even
if he were available, but it was remarkable to hear how transformed and refined the orchestra sounded in his hands.” – Andrew
Clark, Opera Magazine
Teatro Lirico di Cagliari
Concerto Sinfonico: da Stravinskij a Milhaud e Weill
“Una felice commistione gestita da Guidarini con precisione e sensibilità.
E a merito dell'Orchestra diretta da Guidarini c'è la capacità di cogliere gli aspetti più innovativi della musica di Milhaud.
Una bella esecuzione ricca di spunti che, approfondendo l'estetica e lo stile corrosivo di Weill, mette in evidenza il gusto
poliedrico di Marco Guidarini e dell'Orchestra.
Un concerto bello e inusuale, con un carico di energia affidata ad ogni suono e una condivisione interpretativa palpabile.” -
Greca Piras, L'Unione Sarda
Teatro Lirico di Cagliari
Messa da Requiem di G.Verdi
“Un'ora e mezza circa che ha allietato un pubblico ipnotizzato e affascinato da questa musica al contempo sacra e decisa. A
rendere il concerto una vera opera d'arte sono stati l'Orchestra diretta da Marco Guidarini e il Coro del Teatro Lirico diretto dal
Maestro Marco Faelli. Un'esecuzione generale che ha lasciato tutti senza fiato soprattutto quando si sono sentite le prime note di
un ‘giudizio universale’ roboante e profetico da parte del coro e archi come in Dies Ira.” - Carlotta Bellisai, Casteddu online
“Cagliari, interpretazione di impatto ed emotività sotto la direzione di Marco Guidarini.Successo al teatro Lirico per la Messa da
Requiem ...La direzione di Marco Guidarini, mai banale, dà al Requiem cagliaritano il senso di una cantata drammatica,
chiedendo all'Orchestra e al Coro, preparato da Marco Faelli, contrapposizioni brusche che accrescono il senso tragico del tema
terribile del Dies Irae, dandogli fascino e spessore.
Una narrazione serrata, di grande effetto, in cui si inseriscono con sensibilità, le parti solistiche del soprano Serena Daolio, del
mezzosoprano Cristina Melis, al debutto nella sua città, del tenore Alessandro Liberatore e del basso Riccardo Zanellato ...Con
voci e Orchestra chiamati a evocare l'ultraterreno in un'interpretazione di grande impatto ed emotività accolta dagli applausi
convinti del pubblico.” – Greca Piras, L'Unione Sarda
“Marco Guidarini ha dato una lettura abbastanza equilibrata del Requiem di Verdi, non arrischiandosi mai in eccessi coloristici o
di facile effettismo. Stacca tempi né troppo celeri né troppo dilatati, contenendosi peraltro anche sui contrasti di volume sonoro.
Intendiamoci:non mancano certo le forcelle dinamiche, anzi, vi sono alcuni slanci d'impeto espressivo oggettivamente notevoli,
ai quali contribuisce senza dubbio il coro preparato da Marco Faelli, e un'ottima sezione degli ottoni.” - Gabriele Ballol, La
nuova Sardegna
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Marco Guidarini
Selected Reviews
Pamplona, Concierto de l'Orquesta Sinfonica de Navarra
“EL director italiano Marco Guidarini planteó un Beethoven -concierto para piano número tres y sexta sinfonía- muy cuidado,
muy de acuerdo con el instrumento orquestal con el que contaba, al que sacó un sonido hermoso, nunca estridente, con
incidencia en los contrastes, a los que llevó al extremo -desde los panísimos a los fuertes- para lograr efectos poderosos, pero
siempre dentro de una homogeneidad global.
Concertó estupendamente con el pianista solista en el concierto para piano. Y el sinfonismo -siempre bucólico y acogedor- de la
sexta sinfonía, surgió en plenitud de una orquesta de puntual y afinada cuerda -incluso la sección grave de la familia respondió
muy bien y equilibrada- y con unas intervenciones solistas tanto en maderas como en metales, muy plausibles. Guidarini hizo
unas versiones aseadas y claras, sacando a la orquesta un sonido apropiado para el Beethoven que planteó.” - Teobaldos-
Jueves
Il Trovatore, Canadian Opera Company – September/October 2012
“It opened at the Four Seasons Saturday, with conductor Marco Guidarini marshalling the impressive skills of the COC Orchestra
to maximum effect…This production of Il Trovatore will be remembered as yet another jewel in the ever-more impressive crown
of the Canadian Opera.” – John Coulbourn, Toronto Sun
“These four voices were by turns touchingly vulnerable or strikingly powerful, and they were given an equally powerful backing
by a tightly disciplined COC orchestra, led by Marco Guidarini, who lent a freshness to Verdi’s score revealing the many musical
delights often buried under the boredom of players doing one Trovatore too many”. – Robert Harris, The Globe and Mail
“The Italian conductor Marco Guidarini paced the score with a fine sense of ebb and flow. The COC orchestra was on its game, the
strings creating texture in passages that often pass for pure rhythm.” - Arthur Kaptainis, National Post
“Conductor Marco Guidarini (last seen on the Four Season Centre podium for Verdi's Simon Boccanegra) is a true master of
pacing and getting an unaffected clarity and bounce out of the rich music...And when it is presented as well as on Saturday, this
opera leaves absolutely nothing to be desired.” - Musical Toronto
“The four leading roles were all performed with distinction, the conducting was superb and, as always, the chorus sounded
splendid. Marco Guidarini’s handling of the score was every bit as superb as that on his last outing with the COC, Verdi’s
Simon Boccanegra, in 2009...Guidarini is a master at bringing things out of a seemingly familiar work with a firm but gentle
approach that honours the shadow as well as the sunlight in Verdi”. - Richard Ouzounian, Toronto Star
La Traviata, Dallas Opera – April 2012
“Conductor Marco Guidarini clearly knows his Verdi, and he gets finely characterized playing from the orchestra…” - Scott
Cantrell, Dallas Morning News, 14.4.12
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Marco Guidarini
Selected Reviews
Don Pasquale, San Diego Opera - March 2012
“conductor Marco Guidarini made sure that the San Diego Symphony played stylishly. He clearly has an affinity for the music of
Donizetti” – David Gregson, Operawest.com
“Conductor Marco Guidarini, making his company debut, couldn’t resist getting into the Wild West act himself, donning a cowboy
hat when he came out to take a bow at the start of the third act. But he was all business in front of the orchestra, leading a
stylish, well-paced interpretation in which the San Diego Symphony sounded unusually focused.” - UT San Diego
“Marco Guidarini quickly picks up the tempo that keeps actors on their toes.” – ConcertoNet.com
“Conductor Marco Guidarini, another San Diego debut, paced the orchestra well throughout and kept sensitive balances with the
singers. His lightness of touch proved congruent with the composer’s facile orchestration, but he overlooked none of its delicious
details.” – Kenneth Herman, San Diego Arts
La Bohème, Teatro Carlo Felice, Genoa - December 2011/January-February 2012
“nonostante Marco Guidarini sul podio abbia cercato di assicurare una lettura ricca di pathos e di slanci melodici.” - La
Repubblica
“La direzione di Coro e Orchestra del Teatro Carlo Felice è affidata a Marco Guidarini, applaudito più volte dal pubblico
Genovese” - Genova Press
“che vede sul podio il direttore genovese Marco Guidarini, reduce dal successo di Bohème.” - Primocanale.it
Falstaff at Teatro Colon, Buenos Aires - November/December 2010
“The conducting of Marco Guidarini was very neat and great care was noted in the co-ordination…
after that last scene, with repentances, marriages and moralising, the applause intensified and the audience showed, finally,
their satisfaction.” – Pablo Kohan, La Nacion
"Cyrano di Bergerac", Teatro de la Maestranza, Seville - November 2009
“El maestro Guidarini, director en las funciones del Festival de Montpellier, nos presentó una lectura de la partitura….con la
justa dosis de intensidad en cada cuadro; encontrando el equilibrio entre foso y escena que tan necesario es en coliseos como el
Maestranza, sacó de la Sinfónica de Sevilla deliciosos momentos. No fue así con el coro, que parece entrar en la dinámica de ir
mejorando a medida que avanza la temporada.” – Pedro Coco, El mundo classico
“As at Montpellier, the musical direction was in the hands of Marco Guidarini who repeated his excellent reading of the score. It
is clear that Mr. Guidarini knows the opera very well indeed and he also knows perfectly how to conduct with Roberto Alagna on
stage. He drew a very good performance from the Seville orchestra, which is second only to Valencia’s among any opera
orchestra in Spain. The Maestranza Chorus was a disappointment however, too rigidly static on stage, short of vocal strength
and with poor French diction.
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Marco Guidarini
Selected Reviews
The theatre had some empty seats but the audience offered a very warm reception to the artists, with great enthusiasm and
cheers to Roberto Alagna, and almost as many for Nathalie Manfrino. Jorge de León and Maestro Marco Guidarini were much
applauded too.” – José M Irurzun, Seen and Heard
Ovación final
“Marco Guidarini concertó con brío…la intensa y prolongada ovación final, ya a medianoche. Un éxito claro.”
– Gonzalo Alonso, La Razon
Debut at La Scala
“...briosi in scena e allineati alla direzione di Marco Guidarini.” – Angelo Foletto, La Repubblica
“Anche il pubblico della Scala di ieri sera ha riso e ha applaudito 'Le convenienze ed inconvenienze teatrali', 'dramma giocoso'
realizzato con la direzione del maestro Marco Guidarini e la regia di Antonio Albanese.” – www.ansa.it
“Il versante musicale, comunque, quest'anno va molto meglio...Marco Guidarini ha ottenuto cose egregie dai ragazzi
dell'orchestra.” – Elvio Giudici, Il Giorno
“Da elogiare quindi il mestiere di Marco Guidarini, non solo perché concerta l' ostica (è il classico finto facile) partitura con
leggerezza e buon ritmo drammatico, ma soprattutto per come sa acchiappare i «dispersi», specie in quei delicati meccanismi a
orologeria che sono i concertati donizettiani. Cantanti da riascoltare...Eccellente la realizzazione dei recitativi al cembalo da
parte di Vincenzo Scalera. Applausi. Incoraggiante successo per l' Accademia scaligera, che li merita per il lavoro ad ampio
respiro che sta facendo.” – Enrico Girardi, Corriere della sera
“Ascoltare l'Orchestra dell'Accademia Scaligera diretta con accurata perizia da Marco Guidarini, con le varieta di colori, la
combinazioni di figure e la spumeggiante fantasia di una musica che cava idee come un finale di fuochi d'artificio...”
– Bernardino Zappa, L'Eco di Bergamo
“...la musica di Donizetti...se allegra, piacevole da ascoltare e ben diretta da Marco Guidarini...” – Pierachille Dolfini, Avvenire
“The orchestra was led skillfully by Marco Guidarini. The performance was successful and the audience cheered…”
– Silvia Luraghi, The Opera Critic
“Il direttore Marco Guidarini ha condotto con apprezzabile equilibrio.” – Paolo Gallarati, La Stampa
Russian Evening at the Opéra de Nice, July 2009
“Ovationné, pas moins de cinq rappels, et presque la larme à l’œil d’émotion, Marco Guidarini a triomphé pour cette soirée russe
à l’Opéra de Nice. Si la municipalité niçoise semble remettre en cause la présence du chef italien, il est évident que ce n’est pas
un avis partagé par le public reconnaissant de l’immense travail accompli par Marco Guidarini à la tête d’un orchestre qu’il a
résolument placé parmi les meilleurs de la région PACA. Le sérieux et la précision de son travail font de chacune de ses
apparitions un succès. La différence avec d’autres chefs venus diriger le même orchestre est flagrante, il suffit de relire les
différents articles de cette saison pour s’en convaincre. Et ce concert non seulement n’échappe pas à la règle mais en est peut-
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Marco Guidarini
Selected Reviews
être le couronnement…
Puissance et profondeur, finesse et émotion, précision et lyrisme, que manquait-il à ce grand moment qui conduit le public
jusqu’au final époustouflant dont le tonnerre d’applaudissements permit à peine à l’orchestre d’arriver au bout de la partition!”
[Trans: “Given an ovation with no less than 5 curtain calls and almost tears of emotion, Marco Guidarini triumphed in this
Russian evening at the Nice Opera. If the municipality of Nice seems to call the presence of the Italian conductor into question, it
is evident that this is not an opinion shared by the public which is thankful for the immense work achieved by Marco Guidarini
at the head of an orchestra which he has resolutely placed among the best in the Provence/Alpes Maritimes/Cote d’Azur region.
The seriousness and precision of his work make a success of each of his appearances. The difference between him and the other
conductors who come to conduct the same orchestra is obvious. It is enough to read the different articles this season to convince
oneself of this. And not only did this concert obey the rule but was perhaps the culmination…
Power and depth, finesse and emotion, precision and lyricism, what did this big moment lack in bringing the public to this
stunning moment whose thunderous applause barely allowed the orchestra to reach the end of the score.”]
– Cyril Brun, Resmusica
Simon Boccanegra, Canadian Opera Company, April/May 2009
“The COC Orchestra was impeccably led by Italian Marco Guidarini, who carefully highlighted the many musical cues in this, a
score that is much deeper than what we think of as the Verdi norm.
…Simon Boccanegra hasn't been seen in Toronto for 30 years. A great production, like this one, makes one want to experience it
more often.” – John Terauds, The Star
“With conductor Marco Guidarini in superb control of the COC Orchestra and juggling the rich score, director Judge stages the
work with impressively effective simplicity that makes for lovely contrast. In seamlessly transforming the COC Chorus, whose
work is interwoven throughout the opera to maximum effect, into the people of Boccanegra's Genoa, he conspires to showcase
the magnificent choral combinations that are perhaps Boccanegra's greatest triumph.
This is a production to be treasured.” – John Coulbourn, Toronto Sun
“But splendid though the designs and direction of this Simon Boccanegra are, they would not spring to life without Verdi's
magisterial score both delicately and propulsively played by the COC orchestra under Marco Guidarini and whole-heartedly,
sometimes gloriously sung by an exceptional cast.
…Hear it all while you can, before it disappears from the COC's repertoire for another 30 years.” – Ken Winters, Globe and Mail
Don Carlos, Den Norske Opera, Oslo, September 2008
“And on the musical side, this performance could scarcely have been bettered. Conductor Marco Guidarini drew idiomatic,
nuanced playing from the pit, and had a secure command over the pace and sweep of the masterpiece…in general the rhythmic
drive was right on the money. While the great duet for Fillipo and the Inquisitor was as brisk as I have heard, what it lost in
gravity it gained in evil menace.” – James Sohre, Opera Today
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Marco Guidarini
Selected Reviews
“Orkesteret la seg som fløyel bak det hele, et sterkt stykke arbeid fra musikere og den drevne operadirigenten Marco Guirdarini.
De fortjener dette huset.”
[Trans: “The orchestra was like a velvet carpet behind it all, an impressive work by the musicians and the highly skilled opera
conductor Marco Guidarini. They deserve this (new opera) house.”] – Olav Egil Aune, Värt Land
“Imponerte. Aldri tidligere har det vært mulig å lytte til en slik bredde i orkestrets strykere. Det muliggjorde en samlet klang der
blåserne kom i forsterkningsposisjon, uten å bryte ut i solistiske innslag fordi rommet ikke tålte klangbredden. Nå lå alt på plass
med saften som finnes i en fortreffelig realisasjon av Verdis instrumentasjon. I dette var kapellmester Marco Guidarini bevisst
tilrettelegger og lydhør medspiller mellom orkester og solister. Koret hadde makeløs bredde og dybde, og i samspill med
solistene og instrumentalistene bidro de til en fylde som tidligere ikke var mulig…”
[Trans: “Impressive. Never before has it been possible to hear such breadth in the orchestra’s strings. This enabled a
homogenous sound where the winds were clear without overpowering, which often occurs in venues with less splendid acoustic.
Everything was now set for a splendid realization of Verdi’s instrumentation. In this the conductor Marco Guidarini was a
conscious and attentive intermediary between the orchestra and the singers. The choir had a unique breadth and depth, and
together with soloists and musicians they contributed to a richness that has previously not been possible.”]
– Idar Karevold, Aftenposten
Anna Bolena, Teatro Massimo, April 08
“...la direzione di Marco Guidarini, che i momenti strumentali carica di espressive tensioni e di drammaticitá e di slancio quasi
ruggente.”
[Trans: “...Marco Guidarini's conducting charges instrumental interludes full of expressive tensions and dramatic impetus.”]
– Sara Patera, Il Giornale di Sicilia
Don Carlos, Opera du Rhin, May/June 06
“What made the evening truly memorable was the conducting of Marco Guidarini, making his opera du Rhin debut. He drew
superb playing from the orchestra, made sure the subtle colours if the instrumentation always came through, maintained an
easy forward flow without ever pushing, and tellingly caught the score’s essential melancholy. This was especially true in his
handling of the quartet in the study scene, and he made ‘Toi qui sus le neant’ the great tragic soliloquy that it is rather than, as
can happen, a long aria holding up the action. Guidarini plainly loves and understands this score. All too few conductors do…
For all the reservations, and there were a few, this young cast, fresh direction and outstanding conducting added up to a most
rewarding evening.” – Rodney Milnes, Opera Magazine
“Marco Guidarini coaxes the Strasbourg Philharmonic to some inspired playing…” – Frances Carlin, Financial Times
“…direction énergique…” – Mehdi Madavi, Altamusica
“Et dans la fosse, la musique est très présente - Marco Guidarini sait faire sonner excellemment le Philharmonique, avec un sens
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Marco Guidarini
Selected Reviews
aigu de la grandeur de l'oeuvre...” – Derniere Nouvelles d’Alsace
“En fosse, la direction de Marco Guidarini ne peut qu’impressionner favorablement, a fortiori quand on connaît les
impondérables de l’acoustique du théâtre de Strasbourg, en général fatale à toute approche trop timorée. Ici, indiscutablement,
l’orchestre passe, les chanteurs ne sont pas noyés, et la cohésion des ensembles assurée. Quant à l’Orchestre Philharmonique
de Strasbourg, il apparaît motivé et à la hauteur du propos. Les chœurs, systématiquement défavorisés par une scénographie
discutable, s’en tirent eux aussi fort bien.” – Laurent Barthel, Concertonet
“Enfin, louons la magnifique direction de Marco Guidarini dont le travail d’un soin et d’une finesse extrêmes à la tête d’un attentif
Orchestre Philharmonique de Strasbourg est absolument fascinant. L’art avec lequel le chef modèle les préludes instrumentaux
et toutes les fins de tableaux pianissimo en portant la musique vers le silence est proprement admirable. Aucun laisser-aller
vers de faciles effets auxquels ce répertoire prête parfois, mais au contraire une grande et rare probité. On pourra parfois
regretter un plus grand impact dans certains fortissimo et certaines articulations, mais ce que l’on gagne en modelé dans le
travail instrumental est sans prix.” – Pierre-Emmanuel Lephay, Forum Opera
“Marco Guidarini… Sa direction est efficace, très lyrique.” – Michel Thomé, ResMusica.com
“En fosse, la direction de Marco Guidarini ne peut qu’impressionner favorablement, a fortiori quand on connaît les
impondérables de l’acoustique du théâtre de Strasbourg, en général fatale à toute approche trop timorée. Ici, indiscutablement,
l’orchestre passe, les chanteurs ne sont pas noyés, et la cohésion des ensembles assurée.” – Laurent Barthel, ConcertoNet.com
Verismo Concert, La Monnaie, Brussels, Dec 05
“Illustrer, de Verdi a Puccini, la naissance du verisme italien sur une periode d’une quarantaine d’annees, tel etait le propos de ce
concert oganise par La Monnaie vendredi. Inviter pour cela un chef italien etait assurement une idée lumineuse, qui nous a
permis de decouvrir a Buxelles le talent de Marco Guidarini, le directeur musical de l’Opera de Nice….
Quel bonheur aussi de gouter, autant par les yeux que par les oreilles, a l’engagement des musicians de l’Orchestre de la
Monnaie, conduits par un chef enthousiaste et inspire. Timbres magnifiquement doses, superbe equilibre d’ensemble et
interventions solistes d’une qualite irreproachable – on epinglera tout particulierement le violoncello de Justus Grimm. Marco
Guidarini a emporte l’adhesion sans reserve d’un public qu’il a conquis par sa presence chaleureuse, mise au service d’une
direction impeccable.” – Michel Debrocq, Le Soir
Pélléas et Mélisande, Opera de Nice, October 2005
“Marco Guidarini a choisi pour sa part une approche intimiste avec des sonorities presque étouffées, sourdes, des couleurs
pastels d’une délicatesse inouïe.” – Christian Colombeau, Forum Opera
“l'Orchestre Philharmonique de Nice soutient la représentation d'un travail de couleur toujours très minutieux et d'un certain
mystère. Marco Guidarini présente une interprétation délicate qui convainc tant par sa grande réserve que par sa conscience de
l'héritage wagnérien de cette œuvre. Plus le dra-me avance, plus il affirme l'expressivité de sa lecture, en salissant certaines
couleurs dans la scène des souterrains, par exemple, comme pour dési-gner les intentions meurtrières qui gagnent alors
Golaud. Enfin, c'est à l'amour d'Arkel (Acte IV, scène 1) qu'il accorde le plus grand lyrisme, signant un choix d'homme de théâtre
et non seulement de musicien.” – Bertrand Bolognesi, Anaclase
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Marco Guidarini
Selected Reviews
Turandot, Opera de Nice, July 2005
“Marco Guidarini… ben congegnata per quanto riguarda la scelta dei tempi.” – Roberto Chiarelli, OperaClick
Salomé, Opera de Nice, May 2005
“Notre admiration culmine au niveau de l’orchestra. Marco Guidarini confirme sa stature de grand chef lyrique international. On
a l’impression, à l’entendre, que le fleuve puissamt de la musique de Strauss a toujours coulé dans la fosse du Philharmonique…
Il se dégage une atmosphère oppressante et tragique qui fait de ce spectacle l’un des plus forts qu’on ait vu ces dernières
années.” – Andre Peyregne, Nice-Matin
“Und das Gewandhausorchester mit Marco Guidarini am Pult setzt sensible Akzente vor allem in den kammerspielartig intimen
musikalischen Strukturen des Werkes wie im innigen, beredten Zusammenklang von Orchester und Stimmen.”
– Gabriele Gorgas, Saechsische Zeitung
“Im Graben zeigt das Gewandhausorchester unter Marco Guidarini und um Konzertmeister Stefan Arzberger schon mit den
unendlich zarten, unendlich hohen, unendlich zerbrechlichen, unendlich schweren Tönen des knappen Vorspiels, dass es Verdi
zum Sprechen zu bringen vermag. Der rustikale Blech-Zauber der Triumph-Szene, die beinahe impressionisti-schen Farben des
Nil-Bildes, die Emphase der glutvollen Streicher-Bögen sind nicht immer beieinander, klingen aber schön. Wenn sie denn
durchdringen. Denn wenn die Sänger nicht gerade lauter sind, sorgt eine Hand voll Bronchialrüpel im ausverkauften Saal fürs
unziemliche Hintergrundrauschen.” – Peter Korfmacher, Leipziger Volkszeitung
“Das Gewandhausorchester spielte klangschoen…” – Gabriele Gorgas, Saechsische Zeitung
Simon Boccanegra recording
“Simon Boccanegra in its 1881 revision is one of Verdi’s great works of confrontation…on record the opera fared well…How then
does this New Zealand performance fare? Very convincingly! It is conducted by Marco Guidarini, who has been garnering praise
of late. He elicits the drama without resorting to exaggeration and is aware of the subtleties of the score. How well the New
Zealand Symphony Orchestra play for him…Anyone thinking of augmenting his Boccanegra collection should be pleased with
this set.” – John T. Hughes, International Record Review
Debut at Metropolitan Opera, New York; 'Rigoletto'
“This season's revival which opened Friday night, is a credible rendition of the tale of love, betrayal and murder - the staple of
Verdi...there were many moments to enjoy.
Conductor Marco Guidarini made his MET debut. While his tempi were a bit slow at the beginning, he warmed up leading a
spirited performance.” – The Associated Press
Rayfield Allied
Southbank House,
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London SE1 7SJ, UK
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E-mail [email protected]
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Marco Guidarini
Selected Reviews
Leoncavallo’s ‘La Boheme’, Klangbogen Wien, 8.02
“Marco Guidarini erkundete mit dem Radio Symphonieorchester Wien die ganze aestetische Vielschichtigkeit Leoncavallos…”
– Tagesspiegel, Berlin
“Marco Guidarini leitete das RSO Wien mit grosser Praezision…” – Stefan Ender, Der Standart
“In wenigen Takten beschwoerten der Dirigent Marco Guidarini und das Radio Symphonieorchester Wien mit leuchtend satten
Klang ganze Assoziationswelten herauf.” – Rainer Elstner, Wiener Zeitung
“Marco Guidarini am Pult des RSO Wien sehr souveraen und praezise, zeigte Sinn fuer Klang Valeurs und dramatische Spannung
ohne Zuckerguss, Fermaten-Unarten, mit denen Leoncavallos Musik in Konzertshows grosser Tenoere oft enstellt wurde, liess
er dankenswerter Weise nicht zu.” – Heinz Roegl, Salzburger Nachrichten
“Marco Guidarini am Pult des RSO Wien sorgt fuer dramatisch wuchtiges, dichtes, mitunter suesslich getoentes Musizieren.”
– Karlheinz Roeschitz, Neue Kronen Zeitung
Rayfield Allied
Southbank House,
Black Prince Road,
London SE1 7SJ, UK
www.rayfieldallied.com
E-mail [email protected]
Telephone +44 (0) 20 7589 6243
Facsimile +44 (0) 20 7581 5269
Member of the International Artist
Managers’ Association
Rayfield Allied acts as agent only and can
accept no responsibility as principal