Concert Reviews
CD Reviews Features Seoul Philharmonic European tour “Thierry Fischer, for example, emphasized the still striking modernity of Berlioz’s program music – with rapid tempos and energetic accents that transformed the colorful orchestra into a gigantic drumbeat.” “Energy, enthusiasm and power of conviction: the qualities of the former flutist found in the orchestral direction the instrument to express them and the space to develop them. It was from memory that he seized Berlioz’s Symphonie “Fantastique”, Beethoven’s “Emperor” Concerto and Isang Yun’s Muak for Orchestra, given in Swiss premiere.” Bernstein & Stravinsky / Royal Philharmonic Orchestra with Patricia Kopatchinskaja “Bernstein’s Chichester Psalms, like much of the American’s work, embraces everything that Stravinsky studiously avoided: showtune populism, heart-on-sleeve emotion, tunefulness for its own sake — but it is no worse for it. Rather, by bringing his own musical brand to the Hebrew texts of his Jewish upbringing, Bernstein engaged with them on a refreshingly instinctive level. And on Saturday the orchestra and the LPO Choir did the same, revelling in the work’s exuberance, under their conductor Thierry Fischer.” Saint-Saëns cycle / Utah Symphony “Thierry Fischer prepared the Utah Symphony exceptionally well… [he] caught the creeping and enveloping atmosphere majestically… a truly exceptional performance and interpretation.” Ives, Brahms & Beethoven / Bournemouth Symphony Orchestra “an unfailingly supportive and decisive Bournemouth Symphony Orchestra and Thierry Fischer (in the Beethoven piano concerto)… the BSO formed an ethereal micro-universe, an otherworldly quality … a background of beautifully crafted strings and woodwinds…. Fischer shaped the (Ives)’s short but infinite span with fidelity and infinite care… This was a forthright, pugnacious account (of Brahms 1), Fischer underlining the score’s dark colouring (contrabassoon more than usually prominent) and heroic ambition.” “Fischer encouraged a fine-shaded orchestral support (in the Beethoven piano concerto) that distinguished the whole performance which, to these ears, sounded fresh and vital…. Thierry Fischer’s reading of the Brahms Symphony No.1, awesome and majestic, was consistently satisfying, from the commanding strengths of the outgoing material of the outer movements to the bewitching lyricism of the inner ones, especially the luscious Andante sostenuto.” Respighi, Saint-Saëns, Stravinsky / Royal Philharmonic Orchestra “It was in “Petrushka,” however, where Fischer really went to town showing off the orchestra’s robust strings, robust brass, robust percussion and startlingly robust winds… Fischer has had a great success in Salt Lake City at least in part through extravagance. He just recorded Mahler’s monumental Eighth Symphony with his Utah Symphony, and his “Petrushka” with the RPO was a bigger-than-life account of the puppet who comes to life and falls in love… the performance was a blast. And a blast is just what the Royal Philharmonic needs.” Haydn, Ives & Dvorák / Utah Symphony “Utah Symphony music director Thierry Fischer, conducting from memory, led the orchestra in a performance of fierce urgency that highlighted the piece’s questing spirit” Salt Lake Tribune, November 2016 Mozart, Suckling, Strauss / Scottish Chamber Orchestra “The SCO was back on form and running on rocket fuel as they delivered a punchy, effervescent account of Mozart’s Overture to The Marriage of Figaro with conductor Thierry Fischer” Haydn & Mozart / Mostly Mozart Festival Orchestra “The stylish conductor Thierry Fischer opened the concert with Haydn’s crackling Symphony No. 59 in A (“Fire”) and ended with a fleet, lean account of Mozart’s darkly intense Symphony No. 40 in G minor.” New York Times, August 2016 “Fischer extracted a surprising range of colors from the Mostly Mozart Festival Orchestra..[and] took nothing for granted. In Mozart Piano Concerto No. 25 Fischer masterfully encourage[ed] the orchestra in light and dark episodes. After the light and shade of the concerto, it was a tribute to Fischer that Mozart’s evergreen Symphony No. 40 proved as engaging as it was. Fischer took the opening rivulets seriously, making them fresh and slightly mysterious…lifted the Menuetto up from potential torpor…in the finale, when the familiar motif sneaks in at every opportunity, Fischer found genial humor and made each reappearance count.” New York Classical Review, August 2016 Weinberg, Prokofiev, Beethoven / Chamber Orchestra of Europe “a triumph for soloist, orchestra and conductor… in Beethoven 7 the COE showed itself to be mercurial and willing to take risks. Thierry Fischer revealed every facet of the work’s dance-like elements, heightening the tension to obsession by the end of the work.” Neue Zürcher Zeitung, May 2016 “Thierry Fischer stuck closely to Beethoven’s metronome markings with brisk (yet never rushed) tempi… the dynamics and articulation were very lively and played with a light touch, never pompous (e.g. the Allegretto), but with with an impressive mastery of dramatic tension… In the Presto the orchestra was brilliantly virtuosic, and very disciplined even in the most exciting passages. The Trio was no series pilgrim’s hymn but more of a bucolic pastoral with wonderful ppp passages… and then the Finale was marvelously alert and appealing – a great achievement overall, as was every work in the programme.” Bachtrack, May 2016 “Under the precise and motivating baton of Thierry Fischer, the ensemble’s cohesion and the rich colours reached the highest possible level… The conductor got the musicians to play with lean vibrato, leaping rhythms, rich and subtle phrasing, and dynamic tempi… what a sumptuous orchestra! The balance of strings and woodwinds, the clarity of colour and sonority, the sense of nuance… A big thank-you to the dynamic Thierry Fischer for the high level concert.” Classic Toulouse, May 2016 Haydn, Prokofiev, Bartók / Utah Symphony Orchestra at Carnegie Hall “the inspired players excelled in an ambitious program …The concert began with a fresh, lively account of Haydn’s Symphony No. 96 .. the orchestra played two demanding early 20th-century works after intermission: selections from Prokofiev’s “Romeo and Juliet,” and Bartok’s Suite from “The Miraculous Mandarin.” Both received exciting, colorful and fervent performances”. New York Times, May 2016 “the Utah Symphony’s recent visit to Carnegie Hall prompts a mental rearrangement of the scoreboard of modern American orchestras… Thierry Fischer and his Salt Lake City band gave a performance as transporting as anything America’s more widely acknowledged cultural capitals have to offer…Utah offered precisionand warmth throughout the program, but seemed in every other respect to transform into a different orchestra as each composer required…The orchestra’s facility for animating these works (Bartok, Prokofiev) with the same bold vigor, as well as the more subtly delightful Haydn, and the dizzying new Norman made for a genuinely spectacular night out at the symphony.” Musical America, May 2016 “The emotional import throughout seemed almost a transcription of Shakespeare’s play and the precision in their performance again made one wonder why rose the orchestra hadn’t played New York’s most famous hall for 40 years.” “The lines [in the Haydn] were clear and played with spirit in the opening movement and in the alternating dance and battle march of the Andante second movement.” New York Classical Review, April 2016 Utah Symphony / Mahler Symphony No.7 “they will keep you riveted for the symphony’s entire 75-minute running time. You might even end up saying, as Arnold Schoenberg did, ‘I simply cannot understand how I was not won over to this before… filled with unexpected wonders.’” Salt Lake Tribune, January 2016 Utah Symphony / Mahler Symphony No.6 “Arguably the most impactful instalment of the two-season, nine-symphony series to date. Fischer led the orchestra in a powerful performance of the larger-than-life Symphony No. 6 … every last bar in the Utah Symphony’s performance Friday was completely absorbing. The orchestra’s playing was remarkably well-disciplined and unrelentingly intense.” Salt Lake Tribune, November 2015 London Philharmonic Orchestra / Bizet, Ravel, Saints-Saëns / Royal Festival Hall, London “His concern for clarity and articulation brings an almost chamber-like quality of exchange and conversation to even the densest textures … a triumph of measured poetry and expressive accompaniment, the more eloquent for Fischer’s communicative hands and cultured sense of line, phrasing and cadence … Fischer crafted it into a luxuriant, intense tableau of mistily veiled rise and fall.” Classical Source, October 2015 Lang Lang & Utah Symphony / Beethoven, Mozart, Wagner, Grieg / Abravanel Hall, Salt Lake City “And in both works, music director Thierry Fischer offered finely crafted accompaniment that mirrored Lang Lang’s playing. The orchestra, not only in the concertos, but also in the other two works on the program (Beethoven’s overture to Egmont and Wagner’s prelude to Die Meistersinger) played masterfully, with clean intonation, finely molded phrasings and crisp articulation.” Salt Lake Magazine, October 2015 Utah Symphony / Beethoven / Abravanel Hall, Salt Lake City Beethoven Symphonies Nos 2 & 7 “The orchestra’s string section continued to play with precision and power, responding to Fischer’s direction like a sleek sports car…musical textures were transparent and elegant. Notwithstanding their well-disciplined performance under Fischer’s baton, the musicians achieved a feeling of spontaneity as well, most notably in the symphony’s madcap finale.” Salt Lake Tribune, September 2015 Beethoven Symphony No 3 “Fischer’s propulsive interpretation was a reminder of the shock waves this bold symphony ["Eroica" ] sent through the music world at its 1805 premiere…it was a chance for the conductor to show off his orchestra’s flexibility, too: urgent at one moment, sweetly persuasive the next. A stately reading of the second-movement funeral march included a marvelously controlled crescendo…in the “Eroica” finale, Fischer’s expansive tempos allowed the audience to sit back and savor Beethoven’s genius.” Salt Lake Tribune, September 2015 London Sinfonietta / Boulez / Cadogan Hall, London “A full London Sinfonietta, conducted by Thierry Fischer, negotiated crisscrossing paths at speed in Eclats/Multiples with aplomb.” “Éclats/Multiples, an iridescent kaleidoscope, brilliantly dispatched… The players and their conductor Thierry Fischer lavished equal care on Christian Mason’s Open to Infinity: a Grain of Sand, miniaturised, glittering and new, and Helen Grime’s A Cold Spring, another tiny package that had juicy contents within.” The Times, August 2015 “Dextrousness was more than evident in this fine performance under the watchful guidance of Thierry Fischer… Fischer drew a scintillating response from the Sinfonietta…An impressive concert and given in exemplary fashion.” Classical Source, August 2015 “…l’orchestre et le chef Thierry Fischer, par leur flexibilité et leur precision, étaient les triomphateurs de ce concert intéressant et exigeant.” ResMusica, August 2015 Orchestre des Continents / Jarrell, Rachmaninov, Prokofiev / Esplanade Concert Hall, Singapore “Fischer led a taunt, transparent reading of the [Michael Jarrell] Etudes… Fischer nonetheless fashioned an emotive rendering of Rachmaninov’s beloved concerto. The audience showered applause down on the performers in appreciation…Precision and clarity come naturally to both Fischer and these young musicians. With Fischer providing the fire, it all came together beautifully.” Grant Park Orchestra / Schoenberg & Brahms / Grant Park, Chicago “Thierry Fischer brings the heat in more ways than one…Schoenberg’s 30-minute tone poem for string orchestra can be a challenge to keep on track yet Fischer and the Grant Park musicians did a superb job. The surging ebb and flow was judged with fine skill by the conductor, Fischer drawing a widely terraced range of dynamics and conveying the lovers’ passion as well as the glowing contentment at the coda.” “Despite amplification, Fischer’s performance [of Schoenberg Transfigured Night] had some of the most expressive string sound of the season, both delicate and passionate. The music director of the Utah Symphony took his time with the score, allowing its spiritual atmosphere to unfold naturally, without gloss or impatient nudging. It was an understanding performance that went beyond intellectualism and solid preparation.” Utah Symphony / Shostakovich & Mahler / Abravanel Hall, Salt Lake City “The Utah Symphony closed its season in stellar fashion this weekend, with music director Thierry Fischer leading the orchestra in exciting performances of Shostakovich’s Violin Concerto No. 1 and Mahler’s Symphony No. 4…Fischer and the orchestra rose to the occasion with a supporting performance worthy of the soloist.” Utah Opera & Utah Symphony Orchestra / Stravinsky / Capitol Theatre, Salt Lake City “Thierry Fischer could scarcely have chosen a better vehicle for his Utah Opera debut. Stravinsky’s score includes some astonishingly beautiful writing for woodwinds, and the Utah Symphony musicians — sitting higher than usual for maximum impact, thanks to the new technological capabilities of the Capitol Theatre pit — played it with vibrancy. The strings and brass also shone, particularly in the gorgeous nocturnal scenes.” “Equal kudos to the orchestra. Maestro Thierry Fischer has a well-known affinity for Stravinsky and that shone through. The score is not so much for an orchestra as for a kaleidoscope of small ensembles within the larger group. Fischer brought his customary care for clarity, balance, and attention to detail, and the musicians played with buoyant energy and flair.” Utah Symphony / Stravinsky & Ravel / Abravanel Hall, Salt Lake City “The Utah Symphony played it with polish and a keen sense of purpose.” BBC Symphony Orchestra / Boulez at 90 / Barbican Hall, London “Pli selon pli is still a major undertaking for any conductor and orchestra. Fischer only took over the concert at a few days notice, when François-Xavier Roth had to withdraw, but no one would have guessed; his performance was wonderfully assured…Fischer’s performance revelled in the energy and textural richness of these pieces, capturing their multilayered elaborations, echoes and reflections. Pli selon pli was equally detailed, and just as viscerally exciting…That movement [Tombeau] which steadily accelerates, accumulating in weight and intensity, was paced perfectly by Fischer.” “If the protracted scale of Pli selon Pli is a challenge for audience and performers alike, the BBCSO under the impressive direction of Thierry Fischer were fully up to it, as they were in five of the Notations developed for orchestra by Boulez from the original set of 12 for solo piano. Here Fischer and his forces captured the shimmering play of colour as well as the intellectual conviction that characterise these more succinct utterances.” “The overall impression is of poet and composer struggling to affirm the human condition — any condition — in the face of implacable death and unfeeling nature. Fischer conducted Pli selon Pli impeccably, the BBC SO produced some extraordinary cascades of sound.” “Pli selon Pli seduces the ear with its sensual array of sounds, among them purring woodwind, softly spoken xylorimba and a luminous, solitary voice…dotted on a vast canvas like twinkling stars in a galaxy. All of which was eloquently conveyed by the BBC Symphony Orchestra under Thierry Fischer.” “Conductor Thierry Fischer (replacing François-Xavier Roth) clearly knows Notations well, and he marshalled the large forces of the BBC Symphony Orchestra into a disciplined army of players, peeling away Boulez’s multiple layers of harmony and tonal complexity…Pli selon Pli is a difficult work to pull off, and by and large Thierry Fischer and the BBC SO succeeded. Fischer’s direction was controlled yet accommodating, and the BBC SO players responded with musicianship of the highest order.” Utah Symphony Orchestra & Chorus / Mahler Symphony No. 3 / Abravanel Hall, Salt Lake City “…Fischer has become a formidable interpreter of this music… Under Fischer’s thoughtful and perceptive direction (the orchestra) gave a stellar account, acquitting themselves magnificently. Each section played with precision, clarity and sense of purpose. The playing by the brass and percussion, always vital components in Mahler’s scores, was brilliantly conceived and executed. The same was also true for the woodwinds and the strings. In the final movement, which is really a showcase for the strings, they played with gorgeously crafted expressions, depth and emotional involvement. It was absolutely exquisite. This is a performance of the Third that in so many ways sets new standards of excellence for the Utah Symphony and for Mahler.” Utah Symphony / Dutilleux & Beethoven / Abravanel Hall, Salt Lake City “Under Thierry Fischer’s direction, the orchestra played with a rawness and power that belied the ultrafamiliarity the work has achieved in the ensuing 190 years… a thrilling sense of urgency” Utah Symphony Orchestra and Chorus / Haydn & Mahler / Abravanel Hall, Salt Lake City “…a commanding account of the Symphony No. 2 (Resurrection) which featured some of the best playing to date by the orchestra. Under Fischer’s perceptive direction, the orchestra played with finely crafted nuances and polish” Boston Symphony Orchestra / Brahms & Nielsen / Symphony Hall, Boston “Thierry Fischer, in his BSO debut on Thursday night, led a fluid reading of this sinuous score…He showed an instinctual feel for the flow of linked movements, and more broadly, for this score’s odd musical syntax, it’s pairing of strangeness and inexorability…. the BSO played with a precision and commitment that made you wish it tackled more Nielsen.” Boston Globe, October 2014 “Fischer admirably balanced yet upheld the orchestral forces in (the Brahms concerto). He also commanded glowing string sonority, here and in the other movements, and brought the movement to a taut and powerful close…. Fischer exercised great command of dynamic and tempo contrasts (in the Nielsen), maintaining excellent tension and a strong sense of motivic interplay….It was an expert, skillful performance, definitely in the right hands.” Classical-scene.com, October 2014 “Nielsen’s exuberant Symphony No. 4 showcased the bold interpretive powers of the evening’s conductor, Thierry Fischer, who made his BSO debut. With deliberate gestures and a clear sense of direction, Fischer delivered the full Nielsen, pushing the tempo for energetic readings of the outer movements but laying back to let the chamber-music-like textures of the second flow like gentle waves…. Throughout (the Brahms) Fischer wove a silky bed of orchestral accompaniment, coaxing each phrase with the same loving care rendered by the pianist.” bostonclassicalreview.com, October 2014 “Playing of great responsiveness, nuance, and drama. The orchestra responded to the music with heightened sensitivity and attention to detail…. Fischer’s (performance of the Nielsen) burned satisfyingly hot…Fischer strongly emphasized the rhythmic character of Brahms’s writing and also drew a wide palate of tonal shadings…. His was a solid, lyrical reading that flowed naturally and brought just enough touches to the fore… artsfuse.org, October 2014 Utah Symphony / Stravinsky, Schönberg, Brahms / Abravanel Hall, Salt Lake City “Fischer elicited wonderfully expressive playing from his strings. It was an atmospheric and nuanced reading…His interpretation was subtle and beautifully expressed. Utah Symphony / Mosolov, Beethoven, Mahler / Abravanel Hall, Salt Lake City “..Fischer’s account was broad and brought out the depth and expansiveness of the music…a sensitively crafted reading… BBC National Orchestra of Wales at the BBC Proms / Ravel, Holt, Durufle / Royal Albert Hall, London “…the BBC NOW under its former Principal Conductor Thierry Fischer…responded with brilliant nervous energy” “With a dramatic first half and a reflective second, Prom 14 could have easily fallen into disparity. But Fischer and the BBC NOW could bend to whatever the music demanded of them, whether that was jollity, tragedy or tranquility.”Bachtrack, 28 July 2014 “Thierry Fischer and his Welsh forces imbued the music with a lush, gloriously homogenous halo of sound” “Thierry Fischer and the BBC National Orchestra of Wales’ rapt, luminously beautiful performance of Duruflé’s Requiem gave the Proms a glimpse of heaven that is likely to linger in the memory well beyond the conclusion of the current season” Orchestre de la Suisse Romande / Debussy, Jarrell, Berlioz / Victoria Hall, Geneva “The programme resembled the conductor – innovative and clear, neat and fiery, classic and adventurous. Thierry Fischer left an excellent impression on the Orchestre de la Suisse Romande. After seventeen years of an international career, he has returned with a trump card, with his ardour unquenched but with the benefit of experience. Fischer astonished those who were new to him by his clear, supple, trenchant, sensual and evocative gestures; by his irrepressible and intrepid vitality; by his hunger for the music, his heady enjoyment of the harmonic and melodic progressions, and the pleasure he takes in the different sonorities, all founded on an excellent technique. His approach to Debussy was organic and emotional rather than cerebral, its contours beautifully clear. This conductor is not interested merely to produce a glorious sound, he finds beauty even in the depths of melancholy.” Le Temps de Genève, 6th June 2014 Orchestre de la Suisse Romande / Debussy, Jarrell, Berlioz / Victoria Hall, Geneva “The programme resembled the conductor – innovative and clear, neat and fiery, classic and adventurous. Thierry Fischer left an excellent impression on the Orchestre de la Suisse Romande. After seventeen years of an international career, he has returned with a trump card, with his ardour unquenched but with the benefit of experience. Fischer astonished those who were new to him by his clear, supple, trenchant, sensual and evocative gestures; by his irrepressible and intrepid vitality; by his hunger for the music, his heady enjoyment of the harmonic and melodic progressions, and the pleasure he takes in the different sonorities, all founded on an excellent technique. His approach to Debussy was organic and emotional rather than cerebral, its contours beautifully clear. This conductor is not interested merely to produce a glorious sound, he finds beauty even in the depths of melancholy.” Detroit Symphony Orchestra / Berlioz, Debussy / Orchestra Hall, Detroit “Fischer and the DSO offered a polished and focused performance that captured the drama, energy and nuance of the (Berlioz Romeo et Juilliette excerpts)… It is an astounding piece…. The concert opened with Debussy’s “Prelude to the Afternoon of a Faun.” In his DSO debut, Fischer, an animated podium presence…created a dreamy atmosphere of whispered passions.” Utah Symphony / Haydn, Mahler / Abravanel Hall, Salt Lake City “Thierry Fischer led the orchestra in a riveting performance of Mahler’s Symphony No. 5. As he did when conducting Mahler’s Symphony No. 4 a couple of years ago, Fischer had the crowd hanging on every note. His upcoming Mahler cycle promises to be monumental. Travis Peterson’s glorious delivery of the opening trumpet fanfare led into a performance of remarkable focus and intensity.” “The Utah Symphony’s mastery of the classical style as of late has been quite impressive. It sounds incredibly focused with defined, meticulous movement, expertly wielded dynamics, …Haydn’s opening to The Creation, titled The Representation of Chaos sounded clean, intense, and restrained…. Mahler’s epic Fifth Symphony concluded the program. The music was often brooding and intense, with an incredible dynamic range… the orchestra performed with the usual high level of professionalism and attention to detail that has been characteristic of the Fischer baton.” BBC Symphony Orchestra / Mozart, Messiaen / The Barbican, London “Thierry Fischer brought authority to Messiaen’s final work and gave a fascinating account of Mozart’s Sinfonia Concertante. Fischer had taken over the concert at short notice after Sylvain Cambreling withdrew, but his performance was as authoritative and lucid as anyone could want..as Fischer showed, the whole work is so sure-footed it carries a powerful charge. … a fascinating account of Mozart’s Sinfonia Concertante K364…Fischer gave an almost sturm und drang intensity to the orchestral tuttis.” “There can’t be many conductors who know Olivier Messiaen’s Eclairs sur l’au-delà well enough to take over a performance at short notice. Stepping in for Sylvain Cambreling, Thierry Fischer directed the BBC Symphony Orchestra in this late, great expression of awe and delight, birdsong and starlight with such ease and clarity of gesture that one wondered why he hadn’t been booked in the first place.” Pacific Symphony / Berlioz, Debussy / Renée and Henry Segerstrom Concert Hall, Costa Mesa “He took particular care with Berlioz’s textures and rhythms, making sure we could hear all the strange intricacies in them….. The whole evening Fischer had the strings playing with a more slender and shiny sound, the brass contained (but bright rather than behemoth when called upon), the woodwinds nicely forward in the sound picture. In short, it was what is known as the French style of orchestral performance, lighter and more lucid than the more common German style. Accordingly, the “Prelude to the Afternoon of the Faun,” which opened the concert, was especially lovely, beautifully quiet and delicate and just a little subdued – an Impressionist painting of a dream rather than the dream itself.” Atlanta Symphony / Mendelssohn, Tchaikovsky / Atlanta Symphony Hall, Atlanta “The hero of the evening turned out to be guest conductor Thierry Fischer… nothing short of spectacular… What stood out, setting a pattern for the evening, was the transparency of the sound Fischer elicited. His reading (of Mendelssohn’s Hebrides Overture) was dynamically restrained, finding other ways to build tension, from the gentle middle to the raucous end of the work…. Unexpectedly, the evening’s highlight was Tchaikovsky’s Symphony No. 5. It’s such an over-programmed warhorse, what could this guy do to make us sit up? Quite a lot, it turns out. As in the Mendelssohn, Fischer’s ability to control the volume was arresting, as he notched it up and down from one phrase to the next. This, together with an equally tight and imaginative use of tempi, gave the work an energy I don’t recall hearing from anyone else. The tone that emerged was translucent, and each emergence of the “Fate” theme was spellbinding.” “The ASO, under the baton of guest conductor Thierry Fischer, navigated the territory masterfully… Fischer pulled out the details — the clear articulation and orchestral textures — that create the swift and overarching romantic sweep (of Mendelssohn’s Hebrides Overture)….Especially gorgeous were the achingly mournful tones of the opening of the second movement (of Tchaikovsky’s Symphony no.5), and, on the opposite end of the spectrum, some whimsical, deliciously plump, almost ribald pizzicato notes in the third movement.” Utah Symphony: Giving Utah a ‘shower of sounds’ “It all begins with a flick of the maestro’s baton. The signal ushers in the first stroke of a violin, a chord on the piano, or a burst of notes from a united orchestra and results in what the Utah Symphony’s music director, Thierry Fischer, calls a “shower of sounds.” You are surrounded by this invisible energy,” Fischer said. “And then to share this with an audience and in a community, with the fact that they know something is happening in the Abravanel Hall, is what matters.” To read the rest of the article, please click here Oregon Symphony / Prokofiev, Lindberg, Tchaikovsky / Arlene Schnitzer Concert Hall, Portland “He showed a tendency toward clear textures and fine details, apparent from the beginning in the terse, witty opener, Sergei Prokofiev’s Suite from “The Love for Three Oranges.” The piece’s short, mostly bouncy episodes rang throughout the orchestra with tight, springy energy and bright color. Fischer also communicated with elegance and precision on the podium, and his evident rapport with the players, not to mention the obvious good results, amply suggested that rehearsals went well. After intermission came Tchaikovsky’s Fourth Symphony, in a classically-tinged reading full of strong playing from throughout the ensemble and refreshingly free of bombast.” Utah Symphony and Chorus / Berlioz’s ‘Faust’ / Abravanel Hall, Salt Lake City “Unquestionably the best performance of a large choral/orchestral work by the orchestra in a very long time. Fischer is a remarkable exponent of the French composer’s music. He was in charge of the score from the opening measures. He knew exactly what he wanted and he elicited a superbly crafted reading from his forces that was powerful and emotionally charged. Under Fischer’s tenure the Utah Symphony has steadily improved in artistic integrity. And Friday it once again showed it is an orchestra to be reckoned with. Its playing was articulate and well executed and filled with nuance and finely molded phrasings. This was close to being a flawless performance from the ensemble.” Grant Park Music Festival / Berlioz, Martin / Saint-Saëns Millennium Park, Chicago “A conducting talent Chicago audiences deserve to hear again… minimum of fuss and a maximum of insight… Fischer pulled out every stop he could in his energetic and full-blooded reading, and the orchestra musicians responded in kind… his orchestra dispatched it at fever pitch.” Chicago Tribune, July 2013 “The Swiss conductor is the real thing—a musician of clear intelligence, technical skill, and podium personality, drawing performances that blended impeccable balancing, textural clarity and fizzing exhilaration… This was the most impressive Grant Park podium debut of recent seasons and Thierry Fischer has earned himself an invitation back to Chicago.” Chicago Classical Review, July 2013 “He conducts with both clarity and passion…. His connection with the players was clearly two-way….. Fischer sold this oft-played piece better than I have ever heard the work live. Fischer believes in this work in the way that Daniel Barenboim believes in Wagner… Utah is lucky to have this conductor, and several Grant Park players who are members of that ensemble can you tell you so. The players honored him with his own ovation…Let’s hope he’s back.“ Chicago Sun Times, July 2013 “The Royal College of Music Symphony Orchestra under Thierry Fischer did a great job with this joyous ten-movement symphony celebrating time (that passes) and love. Overall, these young professional musicians –for that was the standard attained – gave this music with exhilarating life-force and painstaking preparation, Fischer ensuring a wealth of characterisation and dynamics to sustain 75 vital, sweet and fragrant minutes.” Northern Sinfonia / Beethoven, Bartok & Martin / Sage, Gateshead “Fischer maintained a hypnotic, driving pulse that suggested that Beethoven’s revolutionary achievements encompassed the invention of minimalism. There were further intimations of Reich, Glass and company in a transcendental account of Bartók’s Music for Strings, Percussion and Celesta. Fischer imbued the hazy textures with the quality of rising mist, while the arresting passages for woodblock and detuned timpani stood out like a demonstration of a pea bouncing on a drum.” Utah Symphony / Henze & Mendelssohn / Abravanel Hall, Salt Lake City “The Utah Symphony hardly ever programs works written in the last 50 years or so, unless they are “accessible”… But thanks to Thierry Fischer things have slowly changed. He’s taken the initiative and introduced works that don’t necessarily have broad appeal…. The (Henze Double Bass) concerto is certainly a challenging work for the ensemble and soloist. And both acquitted themselves fabulously; they made the demands Henze places on them seem easy. The orchestra played with cleanly defined articulation and crisp execution, as well as with nuanced expressiveness. And Yavornitzky executed his part with polish and wonderful musicality. It was a seamless collaboration overseen by Fischer’s perceptive direction. On either side of Henze’s concerto were two symphonies by Felix Mendelssohn, the First and Fifth (Reformation). Fischer elicited a commanding and articulate account of both works that kept the classical structure intact. The symphony’s playing was precise and well executed. Fischer’s interpretation captured the drama and restless energy as well as the charming lyricism of both. It was transparent and clean and underscored the youthful vigor and energy that courses through so much of Mendelssohn’s music.” Utah Symphony / Elgar, Stravinsky & Mendelssohn / Abravanel Hall, Salt Lake City “The orchestra’s superbly polished performance never faltered. Right from the work’s famous opening theme, I heard an incredibly articulate orchestral sound. Each section ably contributed to the nearly flawless communal sound, and the overall interpretation was once again confident, nuanced and meticulous. Music director Thierry Fischer led the orchestra with a clear, confident command of each score, as well as with economical gestures. Now that the conductor and orchestra are in their third season together, they are starting to operate together at peak effectiveness. The evidence is right there in the sound. To this reviewer, the orchestra has never sounded so confident, so articulate and so precise. Friday’s concert in Abravanel Hall was simply world class.” Utah Symphony / Debussy, Bruch & Mendelssohn / Abravanel Hall, Salt Lake City “Fischer continues to give a fresh look to pretty much everything he conducts. Extra emphasis given to well-chosen notes, clean articulation and tempos that are sometimes slightly different than expected perked up the ear with refreshing new insights. The symphony’s impeccable preparation allowed a feeling of interpretative spontaneity and momentum, especially during the work’s stormy first movement.“ “This was a wonderfully balanced and well thought out collaboration made all the more stunning by the orchestra’s voluptuous playing. The same richness in sound and detail to expressions marked Fischer’s reading of Felix Mendelssohn’s Symphony No. 3, Scottish. The maestro elicited well crafted and articulate playing from his ensemble. It, in turn, played with gorgeously drawn out lyricism, deeply etched expressiveness and seamless phrases. Too often performances of Mendelssohn’s works are superficial; the Utah Symphony under Fischer’s baton brought depth and refinement to its performance.” Utah Symphony / Korngold, Mozart & Mahler / Abravanel Hall, Salt Lake City “This was more than just accompaniment on the orchestra’s part – the players and Hahn were equal partners. It was a fabulous collaboration that turned this performance of the Korngold into the best that has ever been heard of this work in Abravanel Hall… Fischer’s account underscored the expressiveness of the music. Even the magnificent finale with its five separate themes was clearly defined and executed. The orchestra played radiantly with precision and clarity and showed it can do Mozart’s music justice…. The Adagio from Mahler’s unfinished Symphony No. 10 was also on the program. And this was no ordinary reading of this monumental and tragic movement. Fischer delved into the score and captured the essence of the music. His account was exquisitely crafted and nuanced and yet also vibrant and alive. The orchestra played wonderfully. The strings had a gorgeous, rounded tone, and each section played with passion and expression.” Utah Symphony / Mendelssohn Symphony No. 2 Lobgesang / Abravanel Hall, Salt Lake City “His interpretation flowed with finely articulated and nuanced phrasings and delicately crafted expressiveness. The orchestra played radiantly with fluid lines and graceful lyricism.” “And to their credit, neither the soloist or Thierry Fischer, the evening’s conductor, allowed the music to wallow in sentiment. Everything was well balanced and articulated. The same held true for the Second Symphony. Fischer’s interpretation wasn’t overly sentimental – in fact, he underplayed it, much to the music’s benefit. BBC National Orchestra of Wales at the BBC Proms / Berlioz Requiem / Royal Albert Hall, London “Simply marshalling such an assembly is a major achievement in itself, and one that Fischer controlled impeccably. The unanimity of colouring from the choirs was as remarkable as their neatness of ensemble. Though its biggest moments are undeniably gargantuan, much of the Requiem is intimately voiced, and it was in their refined expression that Fischer and his forces impressed, as well as in their bold attack upon the passages of apocalyptic grandeur. Scaled with imaginative variety at all levels, this was a realisation that took in every shade of the work’s emotional and sonic scale.“ “The Berlioz was fierily dramatic from first note to last, with the music literally enacting the libretto’s great events. ‘The Day of Judgment’ was pure brass-and-percussion magnificence as twelve timpani were brought into play, and the choral effects were earth-shaking. The emotions in Berlioz’s world are painfully raw and real, with humanity facing its destiny with a mixture of fear, guilt, and longing; when the chorus sings ‘Call me from the deep abyss’, that is exactly what the bass trombones do.“ “The restrained moments of the Requiem such as the ‘Quaerens me’, using a reduced chorus, achieved an impressively hushed quality…Fischer and his armies embraced the Grande Messe with a good ear not only for its extravagance but also for its subtleties.” Utah Symphony / Strauss & Beethoven / Abravanel Hall, Salt Lake City “Fischer delved deeply into the music and coaxed a nuanced performance from his forces. His interpretation was perceptive and thoughtful and captured the immensity of the score…. this was the kind of performance by the Utah Symphony that would have been unimaginable a few years ago. In his brief time as music director here Fischer has whipped his players into shape and raised the bar considerably higher than it has ever been. This has proven to be a fortuitous collaboration that promises even greater things. The high standard of playing Fischer expects from his orchestra was also evident in Beethoven’s Symphony No. 1. Seldom has an early work by Beethoven been executed better than it was Friday. The orchestra played with crisp articulation and finely honed phrasings, and Fischer once again elicited delightfully nuanced playing from his ensemble. It was a memorable end to Fischer’s season-long Beethoven cycle.”
Luzerner Zeitung, December 2018
Le Temps, December 2018
Financial Times, March 2018
American Record Guide, March 2018
Classical Source, March 2018
Seen and Heard International, March 2018
Los Angeles Times, January 2018
Scotsman, October 2016
Financial Times, August 2015
“Thanks to their flexibility and precision, the orchestra and their conductor Thierry Fischer were the winners in this interesting and demanding concert”
Seen and Heard International, July 2015
Chicago Classical Review, July 2015
Chicago Tribune, July 2015
“Mahler’s Symphony No. 4, bringing the first half of Fischer’s two-season Mahler symphony cycle to a promising close. There was excellence all over the stage Saturday, with standout individual contributions too numerous to mention.. Fischer closed the first and last movements with awe-inspiring pianissimos.”
The Salt Lake Tribune, May 2015
“Fischer captured the humor and charm of the work with his well-conceived interpretation that embraced its quiet energy and flowing lines. The orchestra played with finely molded lyricism and expressiveness; and the many solo passages were well played, in particular concertmaster Ralph Matson’s extended solos in the second, Ländler-like, movement.”
saltlakemagazine.com, June 2015
The Salt Lake Tribune, May 2015
Reichel Recommends, May 2015
The Salt Lake Tribune, April 2015
The Guardian, March 2015
Evening Standard, March 2015
The Times, March 2015
Financial Times, March 2015
Music OMH, March 2015
Reichel Recommends, February 2015
The Salt Lake Tribune, December 2014
saltlakemagazine.com, January 2015
“Fischer didn’t shy from the symphony’s extremes of dynamics, mood and tone, and the result was an edge-of-the-seat reading filled with indelible moments.”
The Salt Lake Tribune, November 2014
These concerts mark an auspicious debut for the BSO’s newest guest conductor. I look forward to his return, hopefully before too long.”
Fischer and the orchestra complemented Bronfman’s perceptive playing magnificently. It was as if soloist, conductor and orchestra were one; it was the kind of musical collaboration one always dreams of finding but so seldom does. Quite honestly it was a match made in heaven.”
Reichel Recommends, 20 September 2014
Throughout the symphony Fischer elicited playing from his band that ranged from the sensuous to the bold…and everything in between.”
Reichel Recommends, 13 September 2014
The Telegraph, 28 July 2014
Seen and Heard International, 30 July 2014
Le Temps de Genève, 6th June 2014
Detroit Free Press, 2nd May 2014
Salt Lake Tribune, April 2014
Reichel Recommends, 19th April 2014
The Guardian, 20th March 2014
The Times, 20th March 2014
The Orange County Register, 7th March 2014
Atlanta Journal Constitution, 1st March 2014
ArtsATL.com, 28th February 2014
Deseret News, 22nd February 2014
Oregon Live, 8th December 2013
Reichel Recommends, September 2013
classicalsource.com, May 2013
The Guardian, March 2013
Reichel Recommends, February 2013
Reichel Recommends, February 2013
Salt Lake Tribune, December 2012
Reichel Recommends, December 2012
Salt Lake Tribune, November 2012
Reichel Recommends, September 2012
The orchestra played wonderfully, with clean articulation and well crafted phrases.”
Reichel Recommends, September 2012
The Guardian, August 2012
The Independent, August 2012
The Telegraph, August 2012
Reichel Recommends, May 2012