Word: gattis
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
...into Symphony Hall on Sunday night to view the fourth installment of the 1997-'98 BankBoston Celebrity Series, now in its ninth year of bringing world-renowned artists to a city where culture begs to be seen, heard and adored. The Celebrity Series'latest import, Italian music director Daniele Gatti and the Royal Philharmonic Orchestra, proved itself worthy of adoration...
...ripe age of 37, Daniele Gatti has already established himself as one of the world's foremost classical conductors due to his unabashed physical and emotional freedom of expression in directing his orchestra. Anyone whose career of musical instruction and performance spans nearly three decades should eventually attain such a degree of skill, but it is Gatti's highly visible selfimmersion in his profession that brings him well-deserved distinction. Deemed the foremost conductor of his generation by some, the renowned Italian director had some high expectations to fulfill in his interpretation of Schubert's Symphony No. 8, (the "Unfinished...
...audience in Symphony Hall on Sunday was undoubtedly seeking the "fire and flair" of Gatti's technique promised by the concert program. Like any fire, some smoldering must occur before the flames actually rise. Perhaps it was the amber-suffused ambience of the concert hall, or simply the burden of starting anew in the midst of a frenzied three-week tour that dampened Gatti's artistry in the first piece. Nevertheless, the true focus of the night--the music and its performance by Britain's national orchestra--remained unmistakably passionate...
With nary an indication of a downbeat from Gatti, the lower strings slid into the haunting opening strains of Schubert's Unfinished Symphony, displaying a rhythmic alliance so perfectly refined that it truly seemed as if only one instrument were present. The placement of the cellos between the second violins and the violas allowed for a heightened clarity, producing a concentrated, almost sinewy tone that typified the Allegro Moderato. The first movement elapsed without any fiery outbursts; Gatti instead focused intently upon the lyric strains of the oboe and clarinet. His conducting was comprised of a fairly conventional fluidity...
With the second movement of the Schubert came an increase in Gatti's emotional intensity, though physical dramatics for the most part remained conspicuously absent. At times one could see the conductor shaking his head from side to side--sometimes mouthing words to the first violins, sometimes gazing out above the mass of musicians with his lower lip protruding. Under his command, the orchestra executed the polyphonic intricacies of the Andante con Moto in perfect synchrony. One could feel the layers of music meshing throughout the hall as they blanketed the audience with their warmth...