Reviews

January 16, 17, 18 and 19, 2013

Concert

Orchestre de Philadelphie

Philadelphia and New York

Ravel: La Valse
Szymanowski: Concerto for violin No. 2
Shostakovich: Symphony No. 5
Leonidas Kavakos, violin

A Foot-Stomping Night at Carnegie Hall

“The concert, following Mr. Nézet-Séguin’s acclaimed Carnegie debut with the orchestra in October, was phenomenal. The ensemble, famous for its glowing strings and homogeneous richness, has never sounded better.”

“But Mr. Nézet-Séguin drew such intensity from the music that it seemed almost expressionistic.”

“The Philadelphia Orchestra seems to have found its ideal music director.”

Anthony Tommasini, The New York Times, January 18, 2013

Source

New York sous le charme de Yannick Nézet-Séguin

« Jeune et charismatique, Yannick Nézet-Séguin a transmis son plaisir contagieux à l’auditoire du Carnegie Hall, jeudi soir. »

« Il a dirigé les trois pièces sans partition. Du haut de ses 5,5 pieds, il commande la scène et ses mouvements fougueux se fondent avec la musique. On ne dirait pas qu’il dirige, mais qu’il danse. Son plaisir est contagieux. »

Marie-Joëlle Parent, Le Journal de Montréal, January 18, 2013

Source

Under Yannick, a fresh treatment of the familiar

“The program evolved into a provocative package, allowing familiar music to be heard with refreshed ears.”

David Patrick Stearns, The Philadelphia Inquirer, January 18, 2013

Source

January 31 to February 10, 2013

Concert

Japan Tour

Rotterdams Philharmonisch Orkest

Tokyo A, B, Kanazawa A, Osaka A, Fukuoka A, Hiroshima B, Nagoya B, Sendai B

Program A

Schumann: Genoveva Overture
Prokofiev: Concerto for violin No. 2
Brahms: Symphony No. 4
Sayaka Shoji, violin

Program B

Beethoven: Concerto for piano No. 4
Rachmaninoff: Symphony No. 2
Jan Liesicki, piano

“He showed the world the power with which music can greatly move.”

“The sound that was spun off gave the feeling of Brahms in a new era.”

Yunko Yoshida, Asahi Newspaper, February 4, 2013

“The sound that this combination brings forth is firm, young and vivacious, filled with elasticity and, what is more, overflowing with a soft touch.”

Michio Tojo, Ongaku no Tomo, February 18, 2013

“Just because the conductor listens well, such moments of inspiration occur everywhere. And at those very moments, powerful surging waves burst naturally from within the orchestra.”

Akeo Okada, musicologist, Asahi Newspaper, March 15, 2013

“Nézet-Séguin expresses a wide variety of ideas in Schumann’s Genoveva Overture while letting the music breathe with vivacity.”

“The warm communication of the musicians with the conductor brings forth music with a strong density.”

Mitsunori Eto, Mostly Classic, February 20, 2013

February 22, 2013

Concert

Orchestre de Philadelphie

Carnegie Hall, Stern Auditorium, Perelman Stage, New York

Gabriela Lena Frank: Concertino Cusqueño (NY Premiere)
Ravel: Concerto for piano in G major
Stravinsky: The Rite of Spring
Jean-Yves Thibaudet, piano

“Mr Nézet-Séguin, at the ripe age of 37, has become a force to be reckoned with on the classical scene. His vibrant presence at the podium suffused a program bursting with unusual and challenging sounds with an unmatched excitement.”

“The Philadelphia Orchestra’s performance was raw and riveting: stripped of any sense of eloquence or pretension, the audience was bestowed with percussive melodies and jaggedly intersecting meters and a driving narrative.”

Rebecca Lentjes, Bachtrack, February 22, 2013

“Nézet-Séguin presented a very impressive Rite of Spring at Carnegie Hall. He was well in control of every aspect of the orchestra; he had a hand in all the variety of colors, textures and moods coming from it.”

Resnicow Schroeder, Huffington Post Arts and Culture, February 27, 2013

March 14 to April 6, 2013

Opera

VERDI: La Traviata

Metropolitan Opera, New York

Violetta Valéry: Diana Damrau, soprano
Alfredo Germont: Saimir Pirgu, tenor
Giorgio Germont: Placido Domingo, baritone
Staging: Willy Decker
7 representations

“Conductor Yannick Nézet-Séguin and the Met orchestra managed to make one of opera’s most familiar scores sound fresh and exciting.”

Mike Silverman, Associated Press, March 15, 2013

“Conductor Yannick Nézet-Séguin breathed new life into the familiar score, with gossamer string playing suggesting Violetta’s fragility. His fleet tempos grippingly communicated the opera’s theme of ‘time running out’ (…)”

James Jorden, New York Post, March 18, 2013

“(…) Yannick Nézet-Séguin assuring equally inspired and inspiring leadership on the podium (…)”

Martin Bernheimer, Financial Times, March 18, 2013

“The orchestra also rose to these grand gestures (…) moments like the lead-up to Violetta’s great ‘Amami, Alfredo’ outburst gave a taste of the delirious lushness and dramatic pullbacks of speed (Yannick Nézet-Séguin) seemed to be aiming for throughout.”

Zachary Woolfe, New York Times, March 18, 2013

March 24, 2013

Concert

Orchestre Métropolitain

Maison symphonique de Montréal

Verdi: Requiem
Amber Wagner, soprano
Karen Cargill, mezzo-soprano
John Mac Master, tenor
Andrew Foster-Williams, baritone-bass
Chœur de l'Orchestre Métropolitain
Montréal

“This Verdi Requiem was a great success on many levels.”

Arthur Kaptainis, The Montreal Gazette, March 26, 2013

« Avec des gestes tranchants ou plus discrets, selon le cas, il obtient une interprétation tour à tour explosive et apaisante, fidèle à cette partition qui tient à la fois du sacré et du théâtral et oscille entre le “tutta forza” et le “estremamente piano”. »

Claude Gingras, La Presse, March 25, 2013

Requiem foudroyant

« Car on rentre ici dans de vraies et grandes idées, un travail de fignolage majeur sur les textures, parfois de l’impalpabilité des attaques (entrée du Lux Aeterna), dans la lecture polyphonique (avant “Quantus tremor” du Dies Irae) ; dans l’éloquence des couleurs. »

Christophe Huss, Le Devoir, March 25, 2013

Source

March 2013

Recording

Brucker 6

Yannick Nézet-Séguin, conductor
Orchestre Métropolitain
ATMA
March 2013

“This is one of the best of the lot, impeccably paced and played with utter conviction. The players sound far more engaged than the Montreal Symphony Orchestra has of late, and Nézet-Séguin manages to find a rich breadth of dynamic range without ever making the score sound gaudy.”

John Terauds, Toronto Star, March 25, 2013

“From the bold and passionate opening movement through the languorous Adagio, a lively Scherzo and the exuberant Finale with hard Haskell prolific use of brass, the orchestra demonstrates a deep engagement with the music, displaying rich tonal colours and a full dynamic range. This is indeed music making with a true sense of grandeur. It seems that everything Nézet-Séguin and the OM choose to play turns to gold, and this disc is no exception. It’s a must-have for devotees of Bruckner’s music, and it may even sway those who up to now have stayed away. Highly recommended.”

Richard Haskell, The Wholenote, May 2013

July 2015

Recording

Chamber Orchestra of Europe

Deutsche Grammophon

Diana Damrau · Anna Prohaska Rolando Villazón · Paul Schweinester Franz-Josef Selig · Thomas Quasthoff Vocalensemble Rastatt Mozart: Die Entführung aus dem Serail 2 CD

Nominated to the 58e GRAMMY Awards Year 2015 for Best opera recording

(Rolando Vilazón, Diana Damrau, Paul Scweinester, Chamber Orchestra of Europe, Yannick Nézet-Séguin)

August 31, 2015

“Nézet-Séguin shows a masterly sense of when to press forward and when to ease up. Another aspect of his conducting is the insistence on sharp, almost Beethovenian dynamic contrasts.”

P.E. Robinson, Musical Toronto

August 4, 2015

“Thanks to conductor Yannick Nézet-Séguin’s energy, this disc is among the finest recordings of Mozart’s youthful comedy… However, what lifts the recording into the top league is undoubtedly the quality of Yannick Nézet-Séguin’s conducting.”

R. Christiansen, The Dayly Telegraph (London)

August 1st, 2015

“Once again, Nézet-Séguin shows how good he is in Mozart. His speeds are well judged, never too fast for the singers to articulate clearly. And he has the knack of bringing out detail without sounding fussy… Particularly beguiling is the oboist’s rubato… The orchestra is beautifully balanced, with a fortepiano tinkling discreetly in the background.”

R. Lawrence, Garamophone (London)

July 20, 2015

« La version de Yannick Nézet-Séguin est une réussite totale, et s’inscrit durablement dans la discographie moderne de l’ouvrage . . . [Nézet-Séguin] parvient à résoudre la quadrature du cercle à l’opéra, qui est d’enflammer l’action tout en tenant, et de quelle manière, la ligne musicale. »

D. Joucken, Forum Opéra

July 10, 2015

« Au pupitre d’un brillant Chamber Orchestra of Europe, Yannick Nézet-Séguin fait entendre une lecture à la fois vivace et nuancé, tour à tour, charmante, agressive et sensible. Quelle joie! »

A.Laska, Res Musica (Paris)

October 6 2016

Concert

Orchestre Métropolitain

Maison symphonique, Montreal

Hélène Grimaud, piano
Bartók : Concerto No 3 pour piano
Mahler: Symphonie No 5

Montréal, 7 octobre 2016

«Le chef donne l’impression de nous montrer chaque épisode en l’éclairant comme si c’était la chose la plus évidente du monde. Son approche très physique est franche, directe, organique, axée sur la sensation intense du moment présent. Il prend la symphonie à bras-le-corps et nous y plonge avec lui.»

Au-delà de ses nombreuses qualités musicales, Nézet-Séguin a démontré hier soir sa force la plus remarquable : celle de nous faire vivre une œuvre avec lui, donnant un sens bien moderne à la vieille expression «être habité par la musique.»

  • C. Rodgers, La Presse

Read the full article

from January 23th to February 12th, 2014

Opera

DVOŘÁK: Rusalka

Metropolitan Opera, New York

Renée Fleming, soprano (Rusalka)
Piotr Beczala, tenor (the prince)
Dolora Zajick, mezzo-soprano (Ježibaba)
Otto Schenk, staging
6 representations, from January 23 to February 8, 2014

“The cast and orchestra did a brilliant job in depicting the enchanted opening scene with Nézet-Séguin giving us some exquisitely delicate textures and colouring and three wood sprites providing perfectly blended harmonies.”

“Yannick Nézet-Séguin kept a firm grip on the evening’s proceedings achieving an astonishing variety of shimmering orchestral textures and sonorities and providing a flexible and responsive accompaniment to the singers (the introduction to the ‘Song to the Moon’ was exceptionally fine).  The score oscillates between darkness and light and between intense lyricism and high drama and Nézet-Séguin succeeded in synthesizing all these elements.  I was particularly impressed with Act 2 where the orchestra successfully conveyed the turmoil of the silent Rusalka, and with the courtly dance section which was dispatched with supreme elegance and decorum.”

R. Beattie, Sean and Heard international, 10 février 2014.

An enchanting Rusalka at the MET Opera

“From the charged, subtle opening, Mr Nézet-Séguin kept the orchestra sounding more lively and cohesive than I’ve heard at the Met for some time.”

“Mr Nézet-Séguin led the orchestra to the tragic yet somehow triumphant closing cymbal crashes. Although I typically don’t sympathize with water nymphs, Rusalka’s story—and her music—will remain with me for quite some time.”

R. Lentjes, Bachtrack, January 26, 2014

Source

“With its echoes of both bicentennial boys, Wagner and Verdi, Dvořák’s score is a tremendous vehicle for an ensemble like the Met Orchestra, and Yannick Nézet-Séguin led the musicians in an intense and sumptuous performance. A conductor of singular passion, he produces adventurous readings, but the rewards are usually substantial. So it was on Thursday, as his grandly sculpted, richly charactered direction more than made up for a smattering of ensemble lapses, plumbing every depth of Dvořák’s richly layered writing. He was fabulously attentive to the needs of his singers, and brought out ferocity and tenderness both from all sections of the orchestra.”

E.C.Simpson, New York Classical Review, January 24, 2014

“There’s something else ‘special’ about this production, and that is Yannick himself.  His masterful direction of Dvorak’s lush, Romantic score breathed new life into what would normally be a rather dark, dreary and downright depressing tale of ill-fated humanity.”

“His enthusiasm, passion and interpretation of Dvorak’s score lead to numerous ovations every time he took to the podium between acts.”

“Still it was Yannick who shined. The crowd ultimately went wild for his robust control of the score. His impassioned conducting lead the evening’s performance to great musical heights.”

B. Buttler, Phillymag.com, January 24, 2014

Source

August 7, 2016

Concert

Orchestre Métropolitain

Amphithéâtre Fernand-Lindsay/Festival de Lanaudière

Nicholas Angelich, piano
J.S. Bach: Passacaille et fugue en do mineur (arr. Stokowski).
Rachmaninov: Rhapsodie sur un thème de Paganini.
Rachmaninov: Danses symphoniques.
Nico Muhly: Mixed Messages.

Montreal, August 8, 2016

« Angelich révèle la noblesse de Rachmaninov et cette révélation avec Yannick Nézet-Séguin, a tenu, l’espace de 25 minutes, de la magie la plus pure. »

« Il est heureux, aussi, que le chef s’intéresse autant aux transcriptions de son prédécesseur Stokowski. Cela nous a valu une entrée en matière d’une puissante grandeur. Nézet-Séguin ne surjoue pas Stokowski. Il anoblit la transcription de la Passacaille et fugue en do mineur comme en témoigne la grande classe du dernier accord, qu’un mauvais interprète aurait fait “gueuler”. »

Lire l'article intégral

C. Huss, Le Devoir

August 2015

Recording

Philadelphia Orchestra

Deutsche Grammophon

Rachmaninoff: Variations/Daniil Trifonov CD

September 25, 2015

“This new recording suggests that the Philadelphians’ unique connection with Rachmaninoff is alive and well under Nezét-Séguin’s dynamic baton. They are the perfect collaborators for Trifonov’s crystalline, sensitive piano playing.”

P. Rucker, Washington Post

September 21, 2015

« Daniil Trifonov, Yannick Nézet-Séguin et le Philadelphia Orchestra sont en état de grâce pour la célèbre "Rhapsodie sur un thème de Paganini". Leur interprétation se hisse aisément dans les sommets de la discographie… »

J.C. Le Toquin, Res Musica (Paris)

September 1st, 2015

« Avec un chef aussi attentif que Yannick Nézet-Séguin, la “Rhapsodie sur un thème de Paganini” devient l’une des plus chambristes et inventives que l’on connaisse. »

S. Friedrich, Classica (Paris)

September 1st, 2015

“Trifonov is fortunate to have the Philadelphia Orchestra under their dynamic conductor Yannick Nézet-Séguin… This is a first-class recording in every way.”

R.E Benson, ClassicalReview.com

August 17, 2015

“Trifonov and Nézet-Séguin do seem genuinely to be a meeting of musical minds.”

J. Nichols, Garamophone Online

May 10, 2013

Concert

Orchestre du Centre national des Arts d’Ottawa

Orchestre Métropolitain («2 orchestres, 1 chef»)

Maison symphonique de Montréal

Richard Strauss: Suites of the Woman without a Shadow and of the Rosenkavalier. The words of Zarathoustra.

Le grand bain sonore

« Les choses étaient si bien rodées qu’on se disait que Yannick Nézet-Séguin aurait pu faire jouer la Suite du Chevalier à la rose à l’envers, tant le corpus orchestral répondait à la moindre de ses inflexions. »

« Constatant bien vite cette latitude, le chef québécois en a usé et s’est fait plaisir dans les transitions et les rythmes de valse, qui tentaient de retrouver l’onctuosité un peu décadente, ce Schmalz typiquement viennois. »

Christophe Huss, Le Devoir, May 13, 2013

Source

L’événement Strauss

« …les deux orchestres sonnaient avec une parfaite homogénéité, comme une immense formation autonome. »

« Nézet-Séguin nage dans cette musique avec une telle volupté et il entraîne avec lui musiciens et auditeurs avec un tel enthousiasme que personne ne peut résister »

Claude Gingras, La Presse, May 11, 2013

Source

September 2015

Recording

Orchestre Métropolitain

ATMA Classique

MAHLER 10 CD

January 28, 2016

“It’s reassuring to know that at 40 Yannick Nézet-Séguin—unquestionably one of the world’s top five most exciting conductors—…”

“The warm, intimate, slender sound is an appropriate reflection of the score Mahler left incompletely fleshed out, the bare bones of which Cooke mostly respects.”

“Warm sound in Montreal’s Maison symphonique helps preserve a very special world.”

Read the complete article

D. Nice, BBC Music Magazine

July 2016

Recording

Chamber Orchestra of Europe

Deutsche Grammophon

Luca Pisaroni · Christiane Karg Sonya Yoncheva · Thomas Hampson Angela Brower · Anne Sofie von Otter Maurizio Muraro · Rolando Villazón Vocalensemble Rastatt MOZART: Le Nozze di Figaro 3 CD

Philadelphia, July 10, 2016

” … [from the first chords of the “Figaro” overture, Nézet-Séguin] establishes a bold, fully crystallized concept of Mozartean sonority…”

D.P. Stearns, Philadelphia Inquirer


London, July 12, 2016**

“Luxuriously presented and cast… [Nézet-Séguin’s Mozart recording] oozes confidence… You are in his safe hands the moment Mozart’s upstairs-downstairs comedy kicks off.”

N. Fisher, The Times (London)

May 23, 24 and 25, 2013

Concert

Orchestre de Philadelphie

Verizon Hall, Philadelphia

Dvořák : Slavic Danses nos 1, 10 et 8 Janáček: Sinfonietta Brahms: Concerto for violin Schumann: Symphony no 2, 3rd movement Gil Shaham, violin

“Yet, what made the performance most unusual was its approach to beauty.”

“This is one of those heaven-sent appointments.”

David Patrick Stearns, The Philadelphia Inquirer, May 25, 2013

“So far, Yannick seems to be the right man for the job.”

Tom Purdom, Broad Street Review, May 28, 2013

“The famous Philadelphia strings sounded as warm as I have ever heard them, and Yannick’s conducting was free-handed and sentimental. He shaped the piece (Schumann) delicately, and in a nod to the great Leopold he did so without a baton.”

Eric Simpson, The New Criterion, May 28, 2013

“The evening’s performances displayed the high level of technical brilliance Nezet-Seguin has restored to the Orchestra’s playing and his ability to reach out across the footlights to engage his audience in the music-making.”

*Michael Caruso, Chesnut Hill local, June 6, 2013 *

March 20 - 21 - 22, 2014

Concert

Berliner Philharmoniker

Carl Reinecke : Concerto for flute in D major
Mahler : Symphony No. 4 in G major
Andreas Blau, flute
Christiane Carg, soprano

« C’est au troisième mouvement que Yannick Nézet-Séguin a gagné le cœur du public. Ce mouvement de la quatrième symphonie de Mahler comporte l’indication “paisible”. Le chef avait tellement réduit l’intensité que l’on pouvait entendre la tension du public. Plus un seul bruissement ou froissement de programme, plus un seul toussotement. Le public retenait son souffle. » 

V. Blech, Berliner Morgenpost, March 22, 2014

(Translated in French by E. Morf and L. Bouchard)

March 2014

Recording

SCHUMANN The Symphonies 2 CD

Chamber Orchestra of Europe
Deutsche Grammophon

“These enormously invigorating and brilliantly executed performances, recorded live in November 2012 in Paris’s Cité de la Musique, quash once and for all the old adage that Schumann’s symphonies are deficient in their treatment of the orchestra.”

Erik Levi, BBC Music Magazine

« Le Canadien Yannick Nézet-Séguin, trente-neuf ans, connu pour son tempérament sanguin et sa technique impeccable, en propose une lecture électrisante. »

« Les tempos sont vifs, les gestes francs et les sonorités toujours claires : la musique s’illumine de l’intérieur et laisse voir toute sa richesse polyphonique. »

P. Venturini, Les Échos.fr, March 13, 2014.

Source

Coup de cœur de la semaine

« Cette nouvelle version pourrait faire date dans l’interprétation discographique de ces pièces : le chef québécois Yannick Nezet-Séguin à la tête du Chamber Orchestra of Europe, nous fait entendre des œuvres bouillonnantes, pleines de vie et surtout jamais agressives. »

« Tout est parfaitement articulé et pensé. L’orchestre suit le chef sans ménagement, énergique dans les mouvements rapides mais surtout extrêmement sensible et parfois sombre dans les mouvements lents. Gros coup de cœur qui consacre une nouvelle fois ce chef. »

E. Munera, France musique, March 17, 2014.

Source

September 21 to October 17, 2015

Opera

VERDI: Otello

Metropolitan Opera (New York)

Aleksandrs Antonenko, tenor (Otello)
Sonya Yoncheva, soprano (Desdemona)
Zeljko Lucic, baritone (Iago)
Bartlett Sher, staging

8 representations

September 22, 2015

“Even at his most exciting, Mr. Nézet-Séguin tends to avoid the obvious in his performances, as was true here. Rather than pushing the music to extremes, he drew crisp, subtly detailed and colorful playing from the formidable Met orchestra.”

“Nézet-Séguin sounded in lockstep with the orchestra all night long, frequently bringing out delicious details.”

S.C. Walls, The Guardian

“… And Nézet-Séguin led the opera with an almost Toscanini-like intensity…”

R. Levine, Bachtrack

June 26 and 27, 2013

Concert

Staatskapelle de Berlin

Konzerthaus, Berlin

Mozart: Concerto for piano in A, K.488
Szymanovski: Symphonia concertante
Shostakovich: Symphony no 5
Piotr Anderszewski, piano

« L’orchestre a atteint les hauteurs habituelles dont il est capable. »

Clemens Goldberg, Kulturradio, June 27, 2013
Bühne (Berlin)

« Il est le chef d’orchestre que tout le monde rêve d’avoir en ce moment. »

« Comme s’il peignait une toile, Nézet-Séguin y est allé de coups de pinceaux, magnifiquement soyeux et brillants. »

« Sa version du Chostakovitch faisait ressortir l’immense beauté de cette musique, sans la moindre affectation. Elle n’en a pas moins produit un effet bouleversant. »

Ulrich Amling, Tagesspiegel (Berlin), June 28, 2013

« Magie sur scène sans baguette. »

« Une sonorité qui rapproche de la vérité »

Martin Wilkening, Berliner Zeitung

« Pour tout dire, pendant le concert, nous fûmes totalement livrés à la magie atmosphérique de Nézet-Séguin. »

Felix Stephan, Morgenpost (Berlin)

(Translated in French by E. Morf and L. Bouchard)

May 19, 2016

Concert China Tour

Philadelphia Orchestra

Hong Kong Cultural Center

Brahms: Symphony No. 2 Rimsky-Korsakov: Sheherazade

Hong Kong, May 20, 2016

“Nézet-Séguin’s youthful demeanour belied his serious approach to Brahms’ Symphony No 2, in which he showed himself a master of the romantic line and of forceful statements.”

“Again Nézet-Séguin brought out the serious side of this piece (Shéhérazade), making it symphonic and urgent. The opening trombones were ominous and heavy-footed.”

Read the complete article

A. Alrich, China Morning Post

October 30 and 31; November 1st, 2015

Concert

Rotterdams Philharmonisch Orkest

De Doelen Hall, Rotterdam

Truls Mork, cello
Tchaikovsky: Francesca da Rimini
Shostakovich: Concerto for cello No 2
Prokofiev: Symphony No 7

November 3, 2015

Russian extremes: Nézet-Séguin enthralls Rotterdam

“Nézet-Séguin opened with a sublime rendition of Tchaikovsky’s Francesca da Rimini. From the beginning of this symphonic poem, the Canadian conductor slowly built intensity in the strings, layering a lush texture elevating the piece’s romance to stunning heights. ‘Mighty Mouse’ (as Joyce Didonato has nicknamed him) fascinated with complete control over his highly expressive, but authentic physicality. The whirlwind of flames in which Francesca and her brother-in-law lover Paolo find themselves in Dante’s Inferno vividly came to life through the bewitching wind section, arousing the lovers’ feverish entangled passion.”

Read the complete article

D. Pinedo, Bachtrack

August 2013

Recording

MOZART: Così fan tutte

Yannick Nézet-Séguin, conductor
Chamber Orchestra of Europe
Deutsche Grammophon

« Voilà un second volet de l’intégrale mozartienne signée Nézet Séguin à Baden Baden qui tient dignement sa place aux côtés du précédent Don Giovanni qui montrait la même ardeur expressive, le même sens théâtral finement ciselé. »

Classiquenews.com, September 7, 2013

April 19, 2014

Concert

Orchestre Métropolitain

Maison symphonique de Montréal

J.S.Bach : Matthäus Passion BWV 244
Tenor (Evangelist) : Lawrence Wiliford
Baritone (Jesus): Alexander Dobson
Soprano : Hélène Guillemette
Mezzo-soprano : Julie Boulianne
Tenor : Julian Kuerti

“We are forever being told that St. Matthew is the more contemplative Passion, but the excitement Nézet-Séguin created in the condemnation sequence (with no baton but sweeping gestures) could fairly be called operatic.”

  • A.Kaptainis, The Gazette, 20 avril 2014.
March 2016

Recording

Symphonieorchester des Bayerischen Rundfunks

BR Klassik

MAHLER Symphony No. 1 CD

This month's pick/Orchestral

“The most perfect Mahler First Symphony since Kubelik’s recording 49 years ago.”

Read the complete article

BBC Music Magazine, June 2016.

February 5, 2016

Concert

London Philharmonic Orchestra

Royal Festival Hall

Jean-Yves Thibaudet, piano Gershwin: Concerto for piano * Rachmaninoff: *Symphony No. 2

February 7, 2016

“Nézet-Séguin (now conducting without a score) charmed especially committed playing from the LPO.”

“In short it was a terrific evening, with magnificently prepared performances.”

Read the complete article

D. Truslove, Bachtrack

September 2013

Recording

TCHAIKOVSKY Pathetique CD

Yannick Nézet-Séguin/Lisa Batiashvili
Rotterdam Philharmonic Orchestra
Deutsche Grammophon

“Nézet-Séguin’s winds and brass project beautifully, and string articulation is ideal. The bass trombone pedal before the first movement’s recapitulation is sensational, making the second subject’s reprise pack an incredible punch, bravely assertive in spite of what’s gone before. I also loved Nézet-Séguin’s tender handling of the little brass chorale in the coda. The second movement’s lolloping 5/4 rhythms are nicely characterised, the plangent trio sweetly melancholy.”

G. Rickson, Theartsdesk.com, January 11, 2014.

Source

November 21 to 28, 2015

Opera

R. STRAUSS: Elektra

Opéra de Montréal

Lise Lindstrom, soprano (Elektra)
Nicola Beller Carbone, soprano (Chrysothémis)
Agnes Zwierko, mezzo-soprano (Clytemnestre)
Alan Held, baritone-bass (Oreste)
Alain Gauthier, staging

4 representations

Montreal, November 22, 2015

Music matters most in new production of Elektra

“The central element remained Strauss’s lavish score and Yannick Nézet-Séguin’s mastery of its kaleidoscopic rhythms, phrases and colours.”

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A. Kaptainis, The Montreal Gazette

November 23, 2015

An electric Elektra in Montreal, full of wondrous sound and fury

“Nézet-Séguin … conjured what was simultaneously an ideal accompaniment and a tour de force that left me wishing for a repeat performance sans singers.”

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P. Maunder, Bachtrack

August 2013

Concert

Orchestre Métropolitain

Festival de Lanaudière, Amphithéâtre Fernand Lindsay, Joliette

Wagner: Lohengrin
Brandon Jovanovich, tenor
Elsa von Brabant: Heidi Melton, soprano
Friedrich von Telramund: Andrew Foster-William, baritone-bass
Orturd : Deborah Voigt, soprano
Heinrich der Vogler: Robert Pomakov, bass
Chœur de l’Orchestre Métropolitain (François Ouimet and Pierre Tourville, dir.)

Nézet-Séguin’s first full Wagner opera—masterful

"Nézet-Séguin sustained everything in masterly fashion. His best moments were intimate ones, in which he drew a sweet glow from the strings, buoyed by subterranean tension. Bigger moments were more thrilling than usual because you knew what they’d grown out of, musically an emotionally."

David Patrick Stearns, Philly.com, August 14, 2013

Source

Festival de Lanaudière : triomphal Lohengrin

« La plus grande réussite est celle de Yannick Nézet-Séguin. Abordant son tout premier opéra de Wagner et complètement transfiguré par le sujet - témoin les écrans géants! - notre génial jeune chef a amené ses troupes augmentées, soit l’Orchestre Métropolitain et le Chœur de l’OM, à une puissance et une profondeur de son et une qualité d’expression collective et individuelle jamais égalées encore dans le passé. »

« Tout sonnait parfaitement bien et vrai, et ce, à chaque instant : des cordes très nourries et très justes, des cuivres d’une force incroyable se répondant de part et d’autre de la scène ou venant de l’arrière, des timbres lugubres de basson et de clarinette basse en accord avec certaines situations, des chevauchées à perdre haleine du chœur et de l’orchestre réunis et, en total contraste, des moments de délicate intimité, comme la célèbre Marche nuptiale. Extraordinaire. »

Claude Gingras, La Presse, August 12, 2013

http://www.lapresse.ca/arts/festivals/festival-de-lanaudiere/201308/12/01-4679087-festival-de-lanaudiere-triomphal-lohengrin.php

Nézet-Séguin has Wagner’s number at Lanaudière

"Nézet-Séguin, as athletic as ever, surely played a role in maintaining audience interest, but his real success was on the other side of the podium. It would be hard to imagine a more radiant treatment of the opening pages or a more electrifying Prelude to Act 3. The Orchestre Métropolitain—at its heart an opera orchestra—was in magnificent form, the strings lustrous, the brass warm, the woodwind chorales rich and lucid. Setting aside a few shaky stage trumpets, this ensemble was every inch a match for the OSM we heard in Mahler the night before. Maybe more than a match."

Arthur Kaptainis, The Montreal Gazette, August 12, 2013

Référence

December 2012

Concert

Orchestre Métropolitain

Maison symphonique de Montréal

Friday, December 7, 2012

Mahler:* Symphony No. 4 in G major*
Bach: Jauchzet Gott in all Landen, cantata for soprano, BWV 51
Suzie LeBlanc, soprano

Saturday, December 8, 2012
Bach: Suite No. 2 in B minor, BWV 1067
Bruckner: Symphony No. 6 in A major Marie-Andrée Benny, flute

« Le grand gagnant de la construction de la Maison symphonique de Montréal se nomme Yannick Nézet-Séguin. »

« Dès le tout premier concert à la Maison symphonique, Yannick Nézet-Séguin est le seul musicien à avoir pris la mesure du lieu. »

« Le chef trouve l’étincelle. »

Christophe Huss, Le Devoir, December 10, 2012

“Then came a slow movement of ineffable beauty, with soft violins and subtle rhythmic inflections. Even the plucked notes of the double basses (lined up at the back) seemed full of tenderness.”

Arthur Kaptainis, The Montreal Gazette, December 9, 2012

« Dirigeant de mémoire, le jeune chef en souligne bien le côté caricatural, principalement au Scherzo (le deuxième mouvement), avec son violon-solo aux deux instruments accordés différemment et son trio central auquel il donne une allure inhabituellement capricieuse. »

Claude Gingras, La Presse, December 8, 2012

« Yet, what made the performance most unusual was its approach to beauty.”

P. Wells, Maclean’s