Brabant Symphony Orchestra December 2003
Beethoven
Eindhoven Dagblad
- Passionate Conductor and fascinating Beethoven. The Brabants Orchestra puts its best foot forward.
- Conducted by the passionate young Norwegian guest-conductor
- Arild Remmereit, the orchestra dedicated itself to Beethoven 5th and 6th Symphonies “con amore”. The enthusiasm of Remmereit, who conducted from the heart without a score, very clearly had an effect on the musicians. They delivered admirably. Fervour, spontaneity and a superb, creative arrangement characterised the performance. The overwhelming finale of the 5th, illustrating victory over darkness, also highlighted the victory of the flamboyant conductor and an orchestra in top form.
- All together, this successful combination unleashed a stormy applause
- from a large audience.
Moere and Romsdal Symphony Orchestra October 2003
Bach, Aam , Pergolesi
Sunnmoersposten
Behind the rather uninspiring name, Moere and Romsdal Symphony Orchestra, an exciting little ensemble is camouflaged, which is capable of creating a first class musical experience. All Remmereit needed to do was invite the musicians to excel, which is exactly what happened under his expert direction, using only the smallest of hints through mimics and gestures. The performance was effortless and well balanced. It was, in fact, quite wonderful. So were the soloists.
The programme was full of life and zest. Under the conductor´s baton, the musicians produced numerous magical moments, some so intense that one was even afraid to breathe, at the risk of ruining the atmosphere.
Throughout Aam`s composition, “Wandering Sky”, Remmereit gathered the musicians with his firm direction, creating a pulsating and natural interpretation.
In Pergolesi`s ?Stabat Mater?, one was mesmerized by the elegance with which Remmereit brings soloists and musicians together. This was top class, in the real sense of the word.
In his informative and interesting introductions, Remmereit is wonderfully entertaining and down to earth. We sincerely hope that the Orchestra has a long life ahead. It is very rare, indeed, to witness energy and musicality of such a calibre.
Haramsnytt.
Charmed the audience with magical music.
The audience gave both conductor and orchestra full score for a first class concert and a fantastic performance. They showed their appreciation with flowers and a standing ovation.
- Sakai City Opera, Japan September 2003
Puccini: Il Trittico
Ongaku no Tomo
Sakai City Opera Company proved us that they are able to perform the whole of Puccini´s Il Trittico – Il Tabarro, Sour Angelica and Gianni Schicchi – at one night. It was a high level performance!
The concept of dramaturgical unity between the three operas was good. Conductor Arild Remmereit and the Operahouse Orchestra gave an excellent performance.
Kansai Music News
In its 18th season the Sakai City Opera Company offered a brilliant performance of Puccini´s Il Trittico. The conductor for these superb performances was the Norwegian guest conductor Arild Remmereit. The Operahouse Orchestra showed high quality and also participated in establishing the outstanding level of this production.
-
The Japanese Kinki Music Critics Club offered for the year 2003 “The Music Critics Club Award” to the Sakai City Opera Company and the conductor Arild Remmereit for their brilliant production of Puccini´s “Il Trittico”. They also received the Osaka prefectures award of performing arts.
- Moere and Romsdal Symphony Orchestra March 2003
Weber, Milhaud, Mendelssohn, Godoey
Tidens Krav, Kristiansund
The Evening of contrasts
In the conductor Arild Remmereit we can find quality. Sometimes the orchestra was sparkling, impressing in every line. The Overture from the Opera “Silvana” by Weber, left no doubt – this orchestra was very well prepared for the performance. To listen to this new orchestra is marvellous. The professional musicians are teachers at the music schools in this county. And bringing symphonic music on this high level to the small villages all over, is a victory for the culture-life of Norway. The people living outside the major towns also claim arts and culture of a high quality.
Oeyblikk, Vigra
A classical evening with symphonic euphony.
Moere and Romsdal Symphony Orchestra and the conductor Arild Remmereit accomplished an interesting and strong concert in the church of Vigra----
Romsdals Budstikke, Molde
Moere and Romsdal Symphony Orchestra gave the audience in Vestnes a huge and powerful adventure. The conductor Arild Remmereit kept both the orchestra and the audience in his hand. He is a conductor of international élite. The program contained classics; melodious and transparent music, and also New Norwegian music, demanding much of the performers. The audience showed their gratitude and enthusiasm by standing applause.
Madison Symphony Orchestra March 2003
Groven, Prokofiev, Brahms
Wisconsin State Journal
Arild Remmereit made his United States Debut a successful one. A Norseman with vigorous and athletic movements invaded Madison and was welcomed by an appreciative audience. He teamed with the orchestra and French pianist Phillipe Bianconi in a scintillating performance of the Prokofiev 3rd Piano Concerto. It had a relentless, propulsive quality. Bianconi attached and the orchestra shared the ferocity. The Finale rushed at impetuous speed to a boisterous completion. Well done by all.
The Brahms 1st Symphony is a lushly orchestrated work of epic lyricism. Conductor and musicians gave a taut and powerful performance overall. The many soloist movements were nicely done.
Another Norwegian, the composer E. Groven, provided an invigorating beginning to the evening by a 7 minute “ Joyful Shout”. The orchestra played enthusiastically and aggressively in this good, propulsive opener in keeping with the rest of the program. Remmereit gave up his body in sometimes graceful, sometimes forceful, sometimes extravagant movements. He is a pretty active conductor, most entertaining, and not distracting.
As the audience applauded at length, Remmereit acknowledged the work of each group of the musicians and demanded them to stand as well to receive their share of the ovation.
The audience loved it!
- The Capital Times
Symphony Orchestra And Its Fans Like It Hot!
Even as a bitter cold front blew in from Canada, fans of the Madison Symphony Orchestra felt a heat wave in from Norway and France. The welcome thaw took form of a program played to two nearly full houses that rewarded the performers with sustained applause and standing ovations. Nowhere was the temperature hotter than in Prokofievs Piano Concerto No 3, a “perfect storm” that featured the pianist Philippe Bianconi expertly accompanied by Norwegian guest conductor Arild Remmereit, who was making his U.S. debut this evening.
The Norwegian composer Groven´s “Hjalarljod” was a contagious blast of brightness. The concert closed with Brahm´s First Symphony. The attention Remmereit paid to the details added a transparency one often doesn’t find.
- Berner Symphony Orchestra January 2003
Bernstein, Respighi, Gerschwin
Berner Zeitung
Another firework!
With the bangs from the champagnes and the fireworks still sounding in the ears, you are surely prepared for the New Years Concert with the Berner Symphony Orchestra. The audience was offered free champagne in the interval, and combined with the program led by the Norwegian conductor, Arild Remmereit, they were given a real firework. The ending surprise Remmereit himself gave: He regarded the audience Happy New Year in 15 different languages! What a marvellous start at the New Year 2003!
Staatsphilharmony Rheinland-Phalz December 2002
Mendelssohn, Bruch
Die Rheinphalz
Discovery in the North of Britain.
If you had to make a scale of the sympathy-values, all the actors in the last concert with Staatsphilharmony Rheinland-Phalz in the hall of Neustadt would be on the top of it. In his native city, of course the soloist Ulf Hölschers was a centre. Never the less, the hearts beat for the Norwegian conductor Arild Remmereit, one of the (still) young”sonnyboys of conductors”. He conducted without a baton, and with his hands he was convincing and modelling all the nuances and expressions in the music.
Under the hands of Remmereit, Mendelssohn´s music was led past all traps. In a winning and attracting way the Norwegian showed the delicate sound, the rhythmical variations and the musical-rhetoric impressions in ”Fingal´s Cave. This twilight continued also in the ”Scottish Symphony”. The music was offered us as a painting of sounds. Remmereit saw to it that the atmosphere never was monotonous. From every changing of tempi he knew how to rise the excitement. With his intensive work he managed to find the important tone of voice in the adagio, also the effusive virtuoso of the orchestra in the scherzo. And in the final, he let the triumphant marching choral sound as cheers. This time Mendelssohn was not only beautifully, but also excitingly and thrillingly played.
- Moere & Romsdal Symphony Orchestra October 2002
Dargomyschsky, Johansen, Beethoven
Haramsnytt
A musical firework! The audience was drawn into a world of music filled with atmosphere and moods through the energetic conducting of Maestro Arild Remmereit. We could really feel his musical enthusiasm in the crowded Brattvaag Church. Two men, who both originate from the village of Brattvaag: The composer Bertil Palmar Johansen and the conductor Arild Remmereit, they both received the ovations as the great sons of the village, with standing applause, flowers and congratulations after a successful concert.
- Bygdebladet
“They came to their people” – and they were well received. A crowded Brattvaag Church received their two “sons”, and the Moere & Romsdal Symphony Orchestra as well. All of them were met with warm enthusiasm.
This orchestra consists of professional musicians, many of them serving as music teachers in the region, and they played very well. The orchestra has really “won the prize” by engaging Remmereit as the main conductor. He is a splendid performer and a fantastic pedagogue.
- Romsdals Budstikke
Excitement and chaos in Molde City Hall. The concert was opened by the “Cossack-melodies” by Alexander Dargomyschsky. The orchestra played light and humorous under the conducting of Arild Remmereit. The maestro seemed to have a complete control and articulated leading of his professional musicians.
The most spectacular music of the concert was “Time builds the city”, a suite by Bertil Palmar Johansen. During all the suite the orchestra was going forward and playing with a musical sense. The musicians showed discipline and tension, and they obviously had the music in their minds.
In the 6.Symphony of Beethovem the orchestra with their conductor showed the long lines of this music. A concert full of variations and excitement!
- Driva
Moere & Romsdal Symphony Orchestra gave a beautiful concert in the Surnadal Culture Hall, and Maestro Arild Remmereit made it seriously and amusing to listen to classical music. In the 6.Symphony of Beethoven Remmereit showed his genius by whipping, pulling and drawing the very best out of his musicians, who are gathering together only twice a year. We only can dream about which achievements these musicians could perform if maestro Remmereit had the possibilities to work with them for some longer time! We sincerely hope there will be more possibilities to experience Moere & Romsdal Symphony Orchestra very soon!
-
- Tonkünstler (Musikverein) September 2002
Mozart, Beethoven, Dvorak
Wiener Zeitung
The Tonkünstler Orchestra is the best scale to measure the skills of a conductor: This orchestra can be everything – from provincial to marvellous. The later is often showed when Arild Remmereit is conducting. You can feel the mutual sympathy between them, and the musicians often cross boarders for the Norwegian conductor.
Remmereit´s method is not only to read the score, but also to add his personal knowledge, and these interpretations turn into a real firework of orchestral sound! These things make the combination Remmereit/ Tonkünstler to an ideal partnership!
At this concert he first took hold of Mozart´s Ouverture to “Entführung aus dem Serail”. He left the André – version and turned to Mozart himself, playing the real Mozart, all the time with his spirit present. Remmereit brought this overture to the ultimate point: loud “Turkish music” in permanent exchange with pianissimo “gaps”, all with the finest dynamics and with a musical feeling.
In Beethoven´s 2.piano concerto we could see the secret master-performance of the evening: The conductor and the orchestra managed to follow the pianist, they created a delicate sound to follow the solopart.
Why is Dvorak´s 4. symphony so seldom performed? It is wonderful and highly inspired music! The only crux is the finale; too often the finale is not budging at all. But when Remmereit conducts: quick tempo, vital playing with syncopes, spontaneity and balance, we could really enjoy the lyric themes. Suddenly everything in the problematic finale-movement worked! As Remmereit and Tonkünstler freely formed, first the slow movement and then the breathtaking Scherzo with the pulsing rhythm, it all turned into music, and deserves totally admiration! Of course the first movement also was an experience when Remmereit filled the movement with real pathos and symphonic eruptions.
Standing ovations for conductor and orchestra – Arild Remmereit and Tonkünstler are truly a combination of international standard!
-
- Tonkünstler (Sonntagberg) September 2002
Beethoven
Wiener Zeitung
Beethoven´s 5.symphony and his Mass C-major – almost an impossible programme! The most played and most recorded symphony in the entire history of music, underlies every comparison for orchestras and conductors; how would this work out in the same programme as the just partly successful vocalwork, often looked upon just as an interesting curiosity. Result? A sensation!
Apropos: Shortly before this concert, Beethoven´s 5th was played with Simon Rattle and Vienna Philharmonic. I do not hesitate to compare the interpretation of Arild Remmereit and Tonkünstler at the same level. They are a perfect combination, and the charismatic Norwegian obtains an effort by the musicians, which is almost without parallels. He trusts his enthusiasted musicians and constantly includes impulses from them in his interpretations.
Remmereit´s version of “The 5th” is almost extreme. He points at the beauty of the truth. The symphony sounds scaring, wild and aggressive, and the C-major finale combines the cheers with cruelty. In this, the conductor and the orchestra stand safely rooted in the traditions. An interpretation that is judged as extraordinary! And just the same concerning the C-major Mass. A Norwegian conductor with soloists, choir and orchestra from Lower Austria gave us an Austrian/ Norwegian Beethoven-sensation that would achieve highest international reputation.
-
- Fjord Cadenza Festival, Skodje, Norway. July 2002
Haramsnytt
Arild Remmereit makes Fjord Cadenza international. This year the level is higher than ever, and the festival is even more exciting. Remmereit must take most of the credit for this. When he joined as artistic director last year, a new era started, a complete symphony orchestra appeared. The experienced conductor entered Fjord Cadenza like a wind. This year he really has influence on the artistic program that cover a wide field – from national-romanticism to exciting international contemporary.
In all the concerts the audience gave their applause and ovations to the singers and musicians! The conductor thanked the audience for their approving of the concerts.
Sunnmoersposten
The Openingconcert was an appetizer for what to come. Fjord Cadenza has a lot of small and big stars, "headhunted" from many places by the conductor himself. If you look at the short period of rehearsals, it is fantastic to hear such a complete intention. The concert was charming, exciting and a pleasure for all ears and minds, all honor to maestro Remmereit.
The Operaconcert opened with Rossinis "La gazza ladra" with elasticity and tight harmonic sound. The next in the program was excerpts from Wagners "Lohengrin", demanding music for such a young orchestra. The musicians managed very well, conducted by a maestro with abilities to make the orchestra sound fantastic. The audience showed their enthusiasm by thunderous applause!
Bygdebladet
Fjord Cadenza Symphony Orchestra with the artistic director Arild Remmereit impressed their audience. This summer-adventure started with a bang! At the 10. anniversary the music was more delightful and emotional than ever. 100 musicians from all over the world performed their first concert after just 3 days of rehearsals, full of confidence with a swinging elegant and impressing conductor. The audience gave a prolonged thunderous applause! Such a performance can only be characterized as fantastic beautiful!
The Operaconcert was glittering and touching. The audience was lead into a world of music and romance. "It starts sparkling, and will only be better and better" – Sixten Nordstroem, the concerthost, told us. All the time under full control of the maestro.
Under maestro Arild Remmereit and his baton, the Fjord Cadenza Orchestra this year is better than ever. During "Finlandia", the eyes of the audience were filled with both tears andstars.Standing and prolonged thunderous applause!
- Mexico National Symphony Orchestra May 2002
Ibarra
Reforma
The Norwegian Arild Remmereit made a strong interpretation of Ibarras Symphony of 1993. His profound dramatic concept and his fidelity to the score gave an eminent interpretation, a version that preceded by far the premier performance in 1993, and also the recording.
Mexico National Symphony Orchestra May 2002
Prokofjev, Brahms.
Reforma
Less than one month after having received ovations in Mexico conducting Camerata Bamberg, the Norwegian Arild Remmereit is back again. During the last two weeks he has presented himself with Mexico National Symphony Orchestra in two different programs. The charismatic musician has raised our leading orchestra to a higher sphere, hardly imaginable. How can this conductor get the musicians to perform beyond what they are able to, and much more than "bureaucracy" permit? We still remember the rich colour of sound and the extreme vitality that the orchestra showed in the dramatic vibrating scenes from Prokofjevs ballet-music (Cinderella and Romeo and Juliet), but also the aristocratic lightness and the profound poetry in the Brahms Symphony. At last a Brahms with an engagement we never heard.
Camerata Bamberg April 2002
Mendelssohn, Beethoven, Mozart
El Heraldo
Camerata Bamberg exists of musicians from the Bamberg Symphony Orchestra in Germany, today one of Europe’s most estimated orchestras. The conductor in this occasion, the Norwegian Arild Remmereit, obtained a perfect identification with the orchestra. Is he the chief conductor, we wondered? This great orchestra with such a talented conductor give the impression of long lasting co-operation. An incredible precision, a unity of sound, perfect shades,(no details missed) refined phrases and technical perfection. A wonderful ensemble.
Beethoven’s 2. Symphony which we all know so well, was discovered once again, so fresh was the interpretation. And Beethoven’s 3. Piano Concert was excellently accompanied by the conductor.
- Reforma
The Orchestra had made a genial choice when they engaged the Norwegian conductor Arild Remmereit for this tour. Remmereit is admired in our country for his co-operation with our own Symphony Orchestra.
Through the entire concert Remmereit demonstrated his rhythmic firmness and fantasy to motivate the musicians to perform beyond their limits. How is this possible?---- must be the way the orchestra is compounded, the discipline of each musician, the unity with the conductor and his masterly way of making music. No doubt: Here we meet a conductor who is in the middle of establishing an immovable place in the history of music.
- Chronica
With the Norwegian conductor Arild Remmereit, Camerata Bamberg proved their position among the best orchestras in the world.
- Württemberg Philharmony Orchestra February 2002
Ravel, Debussy, von Weber, Mendelssohn.
Reutlinger Nachrichten
Not of this world: Dream chants - enchanting!
Clarinet-singing, how wonderful! The players of the Württemberg Philharmonic, they did follow the tightrope walk embarked upon by the soloist Balderyou. Under his dream chant they spread a sumptuous carpet of the most subtle shades of sound woven of the silky lustre of the strings and the intimately sparkling clarity of the excellent woodwinds. This careful listening and playing attention unmistakably reflected the authority of the elegantly adroit, unobtrusive and pleasantly sparing conductorship of Arild Remmereit. What a stroke of luck! Under his hands the music was made to breathe freely and to flourish. Nowhere could this be heard more clearly than in Debussys "dreamily slow" clarinet rhapsody. Already in the preceding oeuvre, the Württemberg performers had painted a sound picture of high emotional appeal: Ravels crisp sound idiom in "Le Tombeau de Couperin" came off with natural ease and with captivating charm of intonation - as if pervaded by an acrial, gentle breeze.
In Mendelssohn the picture took on colour, took on form in a truly Mendelssohnian spirit. The final Saltarello was rendered as a brilliant piece of an exuberant presto. And one could even hear the fairies dance…
Reutlinger General-Anzeiger
A symphony concert with two congenial young guests.
It was the evening of two young men: The clarinetist Balderyou, a magician on his instrument, and the conductor Arild Remmereit who made a lasting impression. His control of the whole and his accuracy combine with the noble calm of his actions. His contact with the orchestra could not have been more direct. At any rate, under him the Württemberg Philharmonic performed still better than normally, which is to say with greater enthusiasm and more decisively from a musical point of view.
The soloist impresses with his tremendous skill on the clarinet. The orchestra understands him, performs Debussy in a subtle manner and with gentle sensuousness of tone. Everything floats as if in a dream. In the von Weber piece, the Philharmonic put their whole heart into the music, forgetting straight-forward accompaniment and playing with liveliness and gusto.
In the Mendelssohn we heard an orchestra with enormous drive in the first movement, a drive lightly and steadily sustained by the guest at the conductors desk, thus increasing the orchestras joy in music-making. We heard an orchestra that, following the solemn andante and the sostenuto third movement with the beautifully executed romantic scene of the horns, produces mighty pressure in the finale. The playing displayed furioso intensity: With hammering rhythm and tone shaped with such exactness and inspiration up to the finest points that listening came close to an ecstatic experience.
Quite different the first part of the evening, featuring Ravels "Le Tomba de Couperin". The finesse of instrumentation was savoured to the full by the conductor and orchestra alike. The rendering appeared delicately balanced. The final part of this suite displayed luxurious and stimulating, cheerful philharmonic choreography.
The two guests are welcome in Reutlingen at any time – to judge by the acclaim from the audience.
Schwäbisches Tagblatt
Grand Sound!
In Ravels "Le Tombeau de Couperin", the Norwegian guest conductor Arild Remmereit allowed the orchestra sufficient time to enjoy the finesse of sound to the full: Iridescent blends of the wind instruments, delicate violin pizzicato, the sombre pause of the double-bass before the harp arpeggio rushes up and arouses scintillating high trills.
Remmereits sense of tempo proved its worth even more in Debussys clarinet rhapsody. Dreamily slow and soft the beginning, in some ways resembling the "Prelude to the Afternoon of a Faun". Scherzando parts, however, demand double tempo, frequent internal differentiations with gliding transitions. These were executed "Con eleganza" and well synchronized with the young clarinetist Balderyou. Further enlivened by many dynamic contrasts, the first movement of Mendelssohns symphony in A major ("Italian") knew to please. Without a flaw the second movement, with its stoically regular bass quaver chains, and a befitting presto climax in the finale. There was jubilant and prolonged applause for the orchestra and Arild Remmereit whom we would like to see again in Reutlingen.
Mexico National Symphony Orchestra December 2001
Verdi, Pärt, Mendelssohn.
Reforma
Verdis Sicilian Vesper Ouverture was interpreted theatrical with great dramatics. The dynamics was taken to the utmost extremes and made a great contrast to the following piece, Tabula Rasa by Arvo Pärt.
It was obvious what a great preparatory work the conductor Arild Remmereit had done. The Orchestra was better than ever before. This conductor is really the man who is able to raise the niveau of our orchestra. Another musician, so serious and hard working without a compromise as Remmereit, doesn’t exist,
Brno Philharmonic Orchestra, Czechia November 2001
Jan Novak, Andrew Lloyd Webber
Rovnost
Brno Philharmonic Orchestra opened it´s season with an unusual program, Novak´s “Symphonia Bipartica” from 1983 and Webber´s “Requiem” from 1984. It turned out to be the first half of the concert with the premier performance of Jan Novak´s composition that surprised the most.
It was an immense success not only because of the lucidity and perfection, but also due to the engagement of the Norwegian conductor Arild Remmereit, who took genuine pleasure in performing the piece. He obviously liked the music with it´s strong rhythmical sequences.
Tonkünstler Orchestra September 2001
Schubert: Mass in E flat major
Niederösterreichisce Nachrichten
Magnificent church music: Schuberts´s Mass in E flat major under Arild Remmereit with the Kammerchor "Cantus Hilaris", the Chorvereinigung "Musica Apacensis" and the Tonkünstler Orchestra turned into a deeply moving experience in the Basilica on the Sonntagberg. Arild Remmereit from Norway guided the orchestra, the captivating choir and a choice group of soloists through an exacting mass. The wonderful mellowness of the Tonkünstler and the magnificent voices – he ideally knew how to give them contours of measured pungency.
Still, he did not rely on wide and rough articulations of tone but on a narrative manner ideally balanced between sincere intimacy and dramatic effects that touched the hearts of the listeners. Excellent soloists had been chosen. Thanks to the grandiose performance, the enthusiasm in the packed Basilica was also more than justified. A very special evening!
Bote von der Ybbs
Filled with the hope of eternal bliss: The Tonkünstler Orchestra under the direction of the Norwegian conductor Arild Remmereit had set out to perform a piece that is difficult to realize because of its extreme contrasts of expression and the dense sound fabric at times shrouded in dark registers. The Mass in E flat major by Schubert was performed in the venerable baroque splendor Basilica Sonntagberg.
In Arild Remmereit the Tonkünstler had found an exceptional interpreter of this festive church music, who is blessed with all of the gifts that are usually meted out one by one: He is animated to his fingertips by rhythm, sense of tone, expressiveness and a joy in highly descriptive accentuations. With verve and spiritedness he produces a "con brio" and establishes proportions in this solemn piece which is, not least because of its extreme contrasts of expression, easily in peril of breaking apart. His interpretation of the Mass which has been attributed "requiem quality" because of its dense sound fabric at times shrouded in dark registers, appears to be only imperceptibly affected by the fear of death and sin. It rather expresses trust and sovereignty and the hope of eternal bliss. Remmereit´s refined art of the legato (strictly bound) softens the contrasts without, however, rendering the music trivial. The most moving moment of the evening was the passionate commotion of the "Sanctus" with its excited choir entries, frequent modulations and cut-off rhythms. Praise must also be given to the rendering of the "Benedictus", which Remmereit made glide along with gentle candor, and the final "Dona nobis pacem" as a symbol of confidence and trust. Despite many a languishing string passage, a truly moving interpretation!
Wiener Zeitung
Invocation of higher spheres: This year’s "Musica Sacra" opened with Schubert´s "Mass in E flat major" in the Basilica of Stift Lilienfeld. The underlying idea, namely to perform music in the "original locations", is responsible on the one hand for a high degree of authenticity , but on the other hand – from a musical point of view – for some intricacies. For the almost engulfing spatial effect of the acoustics of the collegiate church of Lilienfeld evoked a sound pattern that will not allow a discriminating review.
In the following, therefore, a description of the specific atmosphere concentrating rather on the emotive and sacral aspects of the evening that had indeed received their due share.
Under the direction of the Norwegian Arild Remmereit, the players of the Tonkünstler conveyed a lot of emotion and with deliberation resisted the temptation of producing too much incense. Instead, the aural surface appeared to be interwoven with bright tone colors. In combination with the full-voiced Jeunesse Choir of Linz, it was like an invocation of celestial spheres. Unpretentious melodic lines flowed into dramatic effects, which Remmereit dosed with deliberation. The spiritual center of the evening remained forever transparent and, with respect to emotional stringency, true to the motto of the festival.
Moere & Romsdal Symphony Orchestra September 2001
Haydn, Fliflet Braein.
Sunnmoersposten, Aalesund
Impressive debut.
Conductor Arild Remmereit, instrumental in the process of developing a professional symphony orchestra in Moere & Romsdal, was able to create and launch, after only three days of rehearsals, a most melodious and well-coordinated symphony orchestra. Already in the opening piece, Haydn´s symphony No 104, we were positively surprised to hear such precise and expressive play by the orchestra. From the firm "tutti"-tones in the dramatic opening of the symphony, through t
he light and airy sounds of the violins in floating passages, balanced against a background of melodious brass, produced music of high energy. Arild Remmereit put his heart and soul into his conducting and did not miss any details in this all encompassing symphony.
Tidens Krav Kristiansund
Exciting encounter with a new orchestra.
It had absolutely everything: Perfect tempi, resilient dynamics and vivacious musical interpretation. The conductor was obviously born with music in his veins and he conducted a performance we seldom will forget.
Ohrid Summer Festival August 2001
The Youth Festival Orchestra, Jeunesse Musicale.
Mozart, Haydn, Albinoni.
" Vest"
Refined musical performances.
What was special about this concert was the influence of the conductor. Arild Remmereit presented himself as a dominating and creative person, demonstrating his own interpretation of the music which was particularly noticeable in Mozart’s g-minor Symphony. A certain freshness, dancing manner and unexpected accents, all of these contrasts to the usual rhythmical strictness.Those who are familiar with only one manner of playing "classical" might find this a rough interference in the norms and principals of style. But for those who have a more liberal musical understanding, because of these slight touches of "different-Mozart" would be inventive and closer to the contemporary musical thinking.
The performance was carried out with great clarity, with dynamic contrasts and nice carving of the musical lines – all this in the extraordinary acoustics of the Sveta Sofia Church, made this very impressive concert.
"Utrinskiv vesnik"
----and at last (but certainly not least) maestro Arild Remmereit! This Norwegian, currently living in Austria, without any doubt a citizen of the world and familiar to the Macedonian audience, took upon himself the responsibility of conducting the complete work of the camp in this in many ways difficult summer. His Mozart in the g-minor symphony was no slave to the tradition, presented with dynamic and agogic freedom, inventive associations of the genre roots and with many colors and vitality – a concept which overwhelmed the musicians in the joy of making music.
Our sincere thanks to Mr. Remmereit, and guest professor and Artistic Director, Mr Alexander Cherniadiev of the St. Petersburg Symphony Orchestra, for their highly respected artistic involvement and for their presence in Ohrid during these difficult times.
"Utrinski vesnik"
This years festival performance under the conducting of maestro Arild Remmereit, one of the few artists coming from Western Europe, was primarily dedicated to the classics. We had a chance to hear Haydn´s symphonies no. 85 and 45. Arild Remmereit´s concept and approach to the pieces gave them objective energy, cosmopolitanism, demonstrating the joy of life present in the classic style of Haydn, - often to bow to his strict and precise academism. This kind of artistic reading of a score can be seen in two different ways, - you can try to fight it, or just love it. I put myself in the position of loving it, and it looked like the musicians in the orchestra have done the same, by showing strength, commitment and responsibility to fulfill the visions and suggestions of the conductor.
"Drevnek"
Under the conducting of Arild Remmereit, the orchestra presented a program which is from an educational point of view positive-playing pieces by the wiener classic Mozart and Haydn and the double oboe concerto by the late baroque composer Albinoni.
The young musicians in their performing capabilities gave a strong accent on the rhythmics and the baroque atmosphere often suggested by the conductor himself. Their performance of Haydn´s two symphonies was met by an enthusiastic audience, above all with the dynamical capacity and acoustic tensity so much insisted by the conductor.
The Fjord Cadenza Festival July 2001
Haramsnytt
The new Music Director is a real inspiration to the young students at the international music symposium. Arild Remmereit has lifted the unbelievable Fjord Cadenza yet another notch higher. Coordination and temperament – everything gelled and fell into place from the first stroke of the baton. With authority and great spirits, he manages to bring the very best out of the young musicians.
Sunnmoersposten The opening concert.
Arild Remmereit, new Music Director, deserves much of the credit for yesterday’s exciting opening performance. The repertoire has gone through new and interesting developments. After only two days of rehearsals, Remmereit impressed his audience with a surprisingly musical and well coordinated orchestra, which under Remmereit´s temperamental and solid musical direction, displayed a most unique pulse and nerve, alternating from the lyrically soft to the most bombastic of rhythms.
Sunnmoersposten. "From Vienna to Broadway"
This concert was devoted to singing. The soloists, accompanied by a sensitive orchestra, provided an entertaining evening complete with fascinating interpretations. Arild Remmereit commands complete attention and closeness with his musicians, which is a pleasure to watch as well as listen to. This is precision, dynamics, and complete absorption at a high level, something which, of course, influence these young musicians to play their very best. The overall impression is an orchestra, which follows the soloists with exquisite timing, often comparable to a professional orchestra.
Sunnmoersposten The closing concert.
Among other pieces in the programme were extracts from Borodin´s Polowetzian Dances and Tchaikovsky´s Symphony No. 1, works that exposed most qualities of both conductor and the young musicians. They all displayed a solid command of the entire register of expressions, from the softest strokes of the violins to the "soli" of the brass and the "forte" sound, "tutti"
Tonkünstler June 2001
Haydn: The Creation.
Wiener Zeitung
Arild Remmereit and the Tonkünstler are going on with their "love story" to the best for the audience.
Tonkünstler is an orchestra of quality, and under Remmereit´s conducting they change into an orchestra with sort of a luxurious sound, a wonderful balance between wienertradition and the original sound. Not only the orchestra gets animated from this charismatic maestro, also the choir´s performance was excellent.
The protagonists in this performance created a high-light in music life. The maestro Remmereit and this orchestra are the ideal partners, just how the audience wants.
Tonkünstler May 2001
Mozart
Wiener Zeitung
Tonkünstler is kind of a seismograpf showing the conductors knowledges. No other orchestra that I know, react so hypersensitive on their conductor. At the Tonkünstler there is for example sort of a Remmereit-effect. How he does it, this charismatic Norwegian, is his secret. In addition to his always present interpret-genius, it has probably something to do with the mutual sympathy. The chemistry was just right. In the “Musikverein” we have seen it once again. Remmereit took over with a Mozart-programme so difficult that even top-orchestras would have problemes. The music breathed fresh and vivid. It teared the applause out of the hands of the audience. Top-Mozart with the Tonkünstler! As we have said above: The Remmereit-effect---!
Royal Theatre Copenhagen November 2000
Mozart “Figaro”
Jyllandsposten
Remmereit´s clear and precise conception of Mozart resulted in a remarkable performance.
Politiken
The Royal Theatre deserves great praise for having engaged the Norwegian conductor Arild Remmereit for this production of Figaro. The ouverture was full of verve and fleet of foot with a salute to the Baroque, and the whole opera sounded like a fresh movement of mercurial temperament, with warmth in the melodies, as befits Mozart. Only few orchestras sound so refined when playing this music.
NÖ Tonkünstler Orchester October 2000
Weber, Lalo, Schubert
Wiener Zeitung
Constantly on the lurk to draw an even more accentuated sound idiom from the orchestra, the Norwegian, exuding great charisma, found a brilliant access to Schubert´s many-facetted “Great Symphony”. Top level….. Forever present, wonderfully dance-like quality underscored Remmereit´s gift of fathoming the intricately layered orchestral parts and of imparting them with lucid and transparent tone-colours.
@Cetera
Already with the opening piece of the concert—the ouverture to Weber´s “Oberon”, Arild Remmereit gave proof that he had worked with Leonard Bernstein. His emotionality is highly pleasing –, as are his precise motions and gestures that faithfully reflect the contents of music. In the second half of the evening, the conductor and the orchestra set themselves an exacting task with Schubert´s Great C major Symphony. To cope with the “heavenly” length without a loss of tension is one of the most difficult situations in symphonic music. That evening the situation was coped with successfully for the most part. In particular, the choice of tempo in the third moment made for a charming scherzo, the repeat taken a bit faster than the beginning, which did not, however, detract from the interpretation. A rousing finale and thus a superb opening of the season.
Oslo Philharmonic Orchestra September 2000
Nystedt: “Apokalypsis Johannis”
Vaart Land
The Oslo Philharmonics under the excellent direction of Arild Remmereit secured a performance of highest level.
Aftenposten
The Norwegian conductor Arild Remmereit, who frequently performs in Oslo, was a highly motivating orchestral leader. He always had the proper grasp, expressed his intentions with clarity and, thanks to his dynamic input, was the driving force. Under his direction, the orchestra, soloists and choir sounded magnificently. The concert was well attended and ended with ovations from the enthused audience.
Dagbladet
A musical tour de force. In many respects it was a most impressive performance on the highest musical level, superbly directed by Arild Remmereit on the podium.
Bergen Philharmonic Orchestra September 2000
Grieg, Shostakovich, Bruch. (With Oistrakh)
Bergen Arbeiderblad
Thrilling contrasts in the rendering of Bruch with a young Norwegian conductor on the podium and an international star as soloist. Arild Remmereit rendered the Holberg Suite with mellow and beautiful strings. The mysterious and thrilling Shostakovich symphony inspired Remmereit and his orchestra, the richness in contrasts as well as the mysterious quality having been shown to best advantage in this performance. Excellent work!
Concert-Verein (Chamber Ensemble of the Vienna Symphony Orchestra) July 2000
Grieg, Larsson, Tchaikovsky
Wiener Zeitung
A true musical sensation: The charismatic Norwegian had carefully stripped Grieg´s Suite “From the Times of Holberg” of any excessive sweetness and rendered it as an anticipation of exquisite neoclassicism: Airy, elegant and full of verve. Tchaikovsky´s Serenade for Strings has certainly not been heard like this before, - That is to say with such a wonderful balance of the luxurious Viennese sound and crystalline transparency. The members of the Wiener Concert- Verein played not only with utmost concentration but also with obvious delight and gave Remmereit what he wanted: clear contours, precise rhythm, polished details in dynamics and articulation. In addition to that, a handling of tempo that can only be expected from truly ingenious conductors. The breakneck, yet musically so finely chiseled closing climax drew well-deserved ovations from an enraptured audience.
Remmereit and the Concert-Verein were ideal partners indeed. They overwhelmed the listener not only with unbelievable beauty of tone but also with a profundity reaching far below the magnificently glowing surface.
Nö Tonkünstler Orchester (“Tonkünstler” Orchestra of Lower Austria) June 2000
Mendessohn Bartholdy´s Second Symphony : “ Lobgesang”
Wiener Zeitung
When did we ever hear the like of it? The players of the “Tonkünstler” Orchestra went to their limits. With brilliant brass, delicately phrasing woodwind players and a string tone that drew beauty precisely from its lithe transparency. Up to the last desk, the instrumentalists betrayed the tension, the enormous concentration and their readiness to go to the last extreme. The conductor who sparked off this miracle is Arild Remmereit, - not only one of the most charismatic conductors but one who reads the score somewhat more thoroughly than the most of his colleagues. He had worked meticulously with the enthusiastically responsive orchestra, soloists and choirs on seemingly unimportant details until it was precisely these that became the indispensable pillars of the sustained arch structures which he captured in the “Lobgesang” Symphony and rendered as a truly spellbinding event. Profundity and greatness instead of expansiveness.The frenetic jubilation of the final movement was bathed by Remmereit in an aura of an ecstatically intensified sacral dance. Standing ovations for a truly overwhelming performance.
Trondheim Symphonic Orchestra April 2000
Brahms, Haydn, Bull
Adresseavisen
Jubilant garlands of tones. There were refined tones as well as beautifully shaped musical phrases. Arild Remmereit´s work with the Trondheim Symphonics on Haydn´s “Surprise” Symphony has yielded gratifying results. Haydn has become a rare bird, it is true, but it is in him that is hidden the ammunition for innumerable salutes. In this performance, the work developed far beyond the famous “drumstroke”. Varying tempi and fresh accentuations created a tremendous vividness. This has shown that for Haydn, whose compositions are sufficiently robust and rich to endure a great deal, one can always be a “renewer”. This performance was truly excellent.
Sørtrøndelag
“ A concert of this kind is like a bottle of good wine” – to quote a listener. Indeed, under the direction of Arild Remmereit this performance turned out to be a lively concert, the orchestra playing with great enthusiasm.
Grazer Symphonisches Orchester (Symphony Orchestra of Graz) April 2000
Haydn, Ibert, Ravel
Kleine Zeitung
A Norwegian of youthful ardor as animator for the Symphony Orchestra of Graz, Arild Remmereit. Already his rendering of Haydn´s “Salomon”- Symphony transported the audience as erstwhile the first performance: with an ardor and technical precision rising above repertory routine did sound the sparkling high strings, the clarinets were superb. Remmereit aptly showed where the young Beethoven got the wherewithal for his symphonic music, From memory Remmereit conducted also Ravel´s “Daphnis and Chloe” and elicited a luxurious ecstasy of sound from the musicians performing concertante roles. Fifteen minutes of applause for the “discovery” of a conductor for the Symphony Orchestra of Graz.
Neue Zeit
The excellent young conductor Arild Remmereit marked this concert. The Norwegian turned out to be a “master of musical graphic art” who, conducting from memory and without a baton, drew the progression of the music into the air with enormous physical stamina. Already in the opening peace of the evening – Haydn´s Symphony “Salomon” – he demonstrated his enormous musicality in sustained arch structures with delicately and wisely dosed dynamics and effectively as well as powerfully deployed rhythmic handling.
The Orchestra, in great form, simply carried the audience away, --- a beautiful program, excellent execution. Congratulations!
Krone
First-rate achievements by the Symphony Orchestra Graz and the guest conductor Arild Remmereit. A superb performance of Ravel´s “Daphnis and Chloe” from the impressive depiction of nature to the splendor of tone displayed in the rousing finale. All sections of the orchestra shared in the well-deserved acclamations. The Norwegian conductor and the orchestra delivered a very lively and natural, throughout congenial presentation.
Aalborg Symphonics January 2000
Dvorak, Rantaavara
Nordjydske
The youthful conductor Arild Remmereit had firm control of the orchestra. He had prepared the ground well by strong dynamic contrasts in the movements and in the sound balance of the different sections of the orchestra. This concert turned out to be a supremely vivid performance of stirring beauty.
Copenhagen Philharmonics February 2000
Mahler, Schmidt
Politiken
The amiable Norwegian conductor with particular care, sincerity and warmth executed Mahler´s Fourth Symphony. Arild Remmereit has a good sense of forms and a clear musical diction, the latter made itself felt to great advantage in Mahler´s “Lieder eines fahrenden Gesellen”, where he articulated the subtle rubati with sensitive elegance.
Jyllandsposten
Arild Remmereit imparted to the music the welcome forward stride and saw to it that it did not drown in sentimentality. At the same time, he left sufficient space for the important orchestral solo parts.
State Opera Norway December 1999
Mozart
Dagbladet
A radiant “Figaro”! With a Norwegian conductor wielding a magic wand. This man with the magic wand is Arild Remmereit who gave his first performance at the Norwegian State Opera. It was love at the first beat. All the musicians were full of praise for this conductor.
Brno Philharmonic Orchestra. Joe Zawinul: Stories of Danube.
Wiener Zeitung October 1999
Mr.Zawinul was exceptionally lucky in his choice of conductor. With Arild Remmereit there was not a moment ´s doubt about his creativity and his ability.
The Brünner Philharmonic Orchestra played with extreme concentration and for the carismatic Norwegian they seemed to be willing to go to the utmost borders of their capacity.
Above all, Remmereit , all the time kept the survey, he was a passionate advocate of the work and a wisely disposing architect. Thus he forced the works´s different stylistic elements and its sporadic lack of inner logic into a convincing whole, and Zawinul´s “Stories of Danube” made a big step away from the suite towards the symphony.
The audience enjoyed it and the ovations were overwhelming.
Bergen Philharmonics August 1999
Grieg, Tveitt
Bergens Tidende
The most beautifully sounding Tveitt performance I have ever heard. A brilliant concert with the Bergen Philharmonic Orchestra and Arild Remmereit.
Orchestra Symphonia National June 1999
R. Strauss
Reforma Corazon de Mexico
What an unexpected surprise! The surprise was Arild Remmereit. A young Norwegian with already substantial credentials, still unknown in this country, who – our good luck – was able to take over this program on short notice, almost over night.
Already at the beginning of the concert we were highly surprised at the good sound of the orchestra. What was truly impressive, however, was Richard Strauss´ youthful symphony. In this opus Remmereit demonstrated much more than total control of his batton. The cooperation between conductor and orchestra unfolded into a total identification of the former with the instrumentalists. Not only because he is said to have addressed them in Spanish during rehearsels but also because, despite of hie youth, he managed to convince them that he himself was a musician in the true sense of the word.
He showed a sense of tonal shading, rhythmic control and a clear idea of what he was conducting at any given moment. The musicians are neither stupid nor are they spoiled with good conductors from abroad. They were thus the first to recognize his qualities and to enjoy his work. All at once everything went all right. Intonation and rhythm --- this sent the orchestra into a furor – it wanted to give everything. This delight in music – making was clearly felt also in the first part of the concert. How Remmereit developed phrases and smoothed the sound was truly unique – for instance how he turned the thrilling crescendo in the coda into real eruption. He stood by his word: allegro assai molto appassionato. Allegro it was – and how! Passionato it was – to the limits of the bearable. At the end of his interpretation, the audience and the musicians applauded in a way we critics had never seen before
Would it not be nice to see Arild Remmereit soon again invited as a guest conductor – possibly for an even longer period? My fascination for this charismatic conductor was such that I also went to hear the repeat concert on Sunday, where he made the orchestra sound even better than on the Friday before.
Oslo Philharmonic Orchestra. Strauss, Mozart,Verdi, Rossini.
Gudbrandsdoelen Dagningen January 1999.-
The Oslo Philharmonic in a sparkling, mood with Arild Remmereit as an
inspiring "Viennese" Conductor. This conductor has his experiences directly
from the sources. He gave us the Viennese waltzes as a quite new
acquaintance, full of Viennese sweetness and temper. Absolutely brilliant!.
- Vaart Land January 1999.-
We met with a conductor who knows what he wants and who is able to share his
visions with the Orchestra Wonderful work!! In Mozart the Orchestra played
with a seldom heard beauty under Remmereit's competent leadership and he
also formed the Richard Strauss very well. A very beautiful concert
experience, -e hope to see Mr. Remmereit on the podium soon again!
Helsingborg Symphony Orchestra, Sweden, Paulson, Jansson and Tsjakovskij.
- Nordvastra Skaanes Tidning,- November 1998.
Paulson: ---a merry piece with lots of humor, performed by an orchestra and
a conductor where the chemistry totally corresponded.
Jansson: Goran Sollscher was the sovereign soloist of the evening, and
sovereign was also the Norwegian conductor, Arild Remmereit, who made his
debut in Helsingborg. He was on the podium pure elegance, and the audience
wants very much to meet him again.
Tsjaikovskij: Here was so much to enjoy and to be delighted by, an
effervescent joy of playing from a highly inspired orchestra under the
leadership of Mr. Remmereit. The performance was met with thundering
ovations.
- Helsingborg Dagblad, - November 1998.
Tsjaikovskij's Symphony nr.1, "The Winter Dreams" ended the concert in
Remmereit's complete, grandiose interpretations.
- Hallandsposten, - November 1998.
Guest conductor Arild Remmereit's competence and energetic drive paid
justice to Paulons in an alert, vital and brilliant sounding performance.
His obvious enthusiasm, flexible tempi and well reflected use of colors and
dynamic contrasts inspired in Tsjaikovskij the Orchestra to an attached and
encouraged as well as rhythmical and magnificent sounding interpretation.
Stavanger Symphony Orchestra. - Verdi's Requiem.
- Stavanger Aftenblad, - October 1998
Arild Remmereit conducted the performance of Verdi's Requiem with his usual
engagement and precision.
- Rogaland Avis, - October 1998.
A strong Requiem in Stavanger Consert Hall. The public showed their
enthusiasm for the conductor and his troops width a standing ovation far
beyond the usual after a performance with many highlights. Already from the
beginning of the "Dies irea" the tears were flowing. A solid choir had
required power for the "Day of Wrath" and an inspired orchestra accomplished
it all.
The Norwegian Music Academy's 25 years anniversary. R. Soderlind: Pianoconccerto (First Performance). Prokofiev: Schytian suite from Ale et Lolly. Vaugham - Williams: Serenade to Music.
- Dagbladet, - Oslo 06.09.98.
A new, great Norwegian conductor talent, Arild Remmereit, gathered the
students to a brilliant sounding symphonic orchestra. It sounded marvelous.
Aftenposten,- 07.09.98.
A memorable musical evening.
The orchestra showed good balance, fine ensemble and great expressive sound.
The musicians made easily and elegantly their way through the most
challenging obstacles. The conductor, Arild Remmereit, was always attentive,
vigilant and sparkling alive in outmost rhythmical clarity, drawing long
musical lines.
The Norwegian Youth Symphony Orchestra at the Elverum Festival. Strawinsky: Symfony in three movements. Berlionz: Roman Carneval. Elgar: In the South Puccini and Verdi: Opera arias
- Ostlandingen,- 17.08.1998
The conductor, Arild Remmereit, made an outstanding, sovereign debut at the
Festival in Elverum. A supreme concert led by a conductor width lots of
energy and power. Come back, soon, Arild Remmereit.
- Hamar Arbeiderblad, - 17.08.1998.
An energetic conductor led the Elverum Festival width perfect skill and
highest self confidence to the end. Arild Remmereit is a technical firework,
an athletic favorite on the conductor podium.
- Aftenposten, - 19.08.98.
The Oslo Chamber Music Festival presented the Norwegian Youth Symphony
Orchestra with a young, promising conductor who inspired the musicians to
fresh and joyful playing, but also to discipline and musical intensity. In
addition, Remmereit made the orchestra play width a certain sweet and
sensual sound when accompanying the soloist.
The probation work was the brilliant sounding, but very intricate "Symphony
in 3 movements by Strawinsky that demands total vigilance from everybody.
Arild Remmereit both "tempted" and "threatened" the young musicians and it
is quite astonishing and very impressive to hear such a music making after
such a short collaboration.
Stavanger Symphony Orchestra Mendelssohn, Faure
- Stavanger Aftenblad, - April 1998
The young conductor Arild Remmereit´s throughout fresh interpretations made
this concert very exciting. He is a very inventive conductor with a clear
feeling for the phasing of the big lines.
Stavanger Symphony Orchestra / May Jazz. Palle Mikkelborg: A Moon of Light.
Dagbladet, - May 1998
The "dream opening" of the May Jazz Festival was a journey between storm and silence, through smiling calm sea or tutti-thundering, when the stormy
groove was at its climax and the conductor, Arild Remmereit, made a
sparkling Stavanger Symphony Orchestra give more then everything.
1997______________________________________________________
Oslo Philharmonic Orchestra, Ravel, Skrjabin.
- Vaart Land, - November 1997
Arild Remmereit, an exciting acquaintance.
In Skrjabins Symphony nr.3, he really demonstrated his capability. In
particular he mastered well the lyrical parts which the orchestra performed
with exquisite, light and elegant playing, greatly inspired by the motion
and the rhythm of the conductor.
- Dagbladet, - November 1997
Some seconds the conductor remains standing with his back to the audience,
acknowledging the orchestras contribution while jointly sharing the applause.
Then turning around, it is the first joint effort - and a beautiful moment,
a climax in a process where the orchestra and the conductor have established
a relationship with confidence which points to the future.
- Aftenposten, - November 1997
Arild Remmereit, in his first performance with the Oslo Philharmonic
Orchestra, impressed with his comprehension and determination. Remmereit´s
dynamic conducting succeeded moving the famous Ravel composition from the
introductory parts to the very end.
However, in Skrjabins 3.symphony Remmereit successfully discharged the
major piece of his assignment. He demonstrated total control and animated
the orchestra to an energetic performance. Throughout the comprehensive
composition Remmereit moved with impressive certainty. He showed through the
whole concert great composure which contributed to a balanced and convincing
impression.
- Arbeiderbladet, - November 1997
The concert with Arild Remmereit on the podium was really appetizing. He
conducted Ravels complicated work La Valse with a firm hand, creating a
really intense and rising interpretation, leading to a rhythmically
captivating conclusion. He continued to impress in a majestic and
fascinating performance of Skrjabins symphony nr.3. With its grandiose and
dramatic eruptions of intensely certified harmonies the 2. Movement carries
the characteristic title of "Voluptuousness". And voluptuous it sounded
indeed until conductor and orchestra returned to Skrjabins even more
eruptive register in a tremendous interpretation of the 3. Movement, a
striking final climax which took the audience by storm.
There is no doubt: Arild Remmereit is a talent to count with. Let's hope it
won't be too long till we see him again on the podium of the concert hall.
This concert made us longing for more.
Tonkunstler Orchestra, Vienna, Brahms, Symphony Nr.2
BADNER ZEITUNG, September 1997
"A subtle dialog between Rhythm and Melody"
Delighted by interrelations between mournful and gracious spirit, we were
enjoying the symphony's ties to nature and its pastoral character. Arild
Remmereit belongs to a new generation of orchestral conductors who are
renouncing experimentation and makes true efforts to perform authentically
faithful to the composers intentions. A phenomenal interpretation which the
audience also knew how to respond to.
His temperament and purposeful, clear gestures were motivating the musicians
and guaranteeing success.
Bern Symphony Orchestra
- Berner Zeitung, - May 1997
(Sibelius, Stenhammar, DUkas / Alyssa Park: violin)
The American violinist Alyssa Park pampered the Bern audience with her huge,
round and delicate sounding tone. And conductor Arild Remmereit elicited
sounds from the Bern Symphony which were of an equal high quality.
The chemistry between conductor and orchestra was just right. The musicians
responded with great commitment to Remmereit´s rather unorthodox direction
and transformed it into prosperous and beautiful sounding music.
- Der Bund, - May 1997
(Sibelius, Stenhammar, DUkas / Alyssa Park: Violin)
Arild Remmereit conducted the good humored, well-disposed and to subtle
refinement enabled Bern Symphony in a genuine highly musical way, congenial,
not at all conceited with a clear view of the score. This was a meeting with
a young artist who gives reason for some future expectations.
At the end of the concert Arild Remmereit and his inspired helpers were
overwhelmed with ovations.
Stavanger Symphony Orchestra Joe Zawinul/Stories of the Danube
Dagbladet, - May 1997
I enjoyed every second! Under the enthusiastic leadership of - in Vienna
living - Norwegian conductor Arild Remmereit the orchestra handled the
music with authority and steadily increasing sonorous glow all through the
concert.
Copenhagen Philharmonic, Svendsen/Symphony Nr.1
Berlingske Tidende, - May 1997
Remmereit really knows the Svendsen Symphony and he also knows how to
inspire the orchestra. It sounded like they were having great fun. In the
Scherzo - an elegant and humoristic ballad - we even for a moment found
ourselves visiting the chicken farm. The long and beautiful sounding andante
got under Remmereit surprisingly high curves in its specter of emotion.
Innsbruch Symphony Orchestra, New Years Concert
- Tiroloer Tageszeitung, - January 1997
Thrilling, Capricious and Virtuoso.
Guest on the podium this time was the fabulous "Goldjunge" Arild Remmereit
who animated the orchestra to precise and inspired playing. Conductor
Remmereit and the orchestra mastered the demanding works with profound
understanding and brilliance.
- Kronezeitung, - January 1997
Conductor Remmereit impressed.
After the thundering and emotional Dvoraks Slavonic dances followed
Tschaikowsky with tender melancholy and love.
- Kurier, - January 1997
Arild Remmereit conducting everything from memory with great temperament and
inspiration, celebrated an outstanding debut in Innsbruck.
Odense Symphony Orchestra, (Opera Galla / Audrey Stottler: soprano)
- Jyllandsposten. - January 1997
Conductor Arild Remmereit was a pleasant acquaintance who conducted everything from memory. He created a fine and clear orchestral playing with many beautiful wind solos and had his own particular success with the amusing Pot Pourri - overture to Nabucco.
- Fyens Stiftstidende, - January 1997
Norwegian Arild Remmereit was an attentive accompanist buoyant and flexible
directing the orchestra with sensitivity and understanding for the
required effects. We have seldom heard the Odense Symphony in a more joyous
and engaging performance.
___________________________________________________________
_____________1996
Mozarteum Orchestra, Salzburg, (Habert, Bruckner)
- Kronen Zeitung, - November 1996
In Bruckner, conductor Remmereit´s feelings for the naturally flow of the
music, achieved enthusiastic response from the audience.
- Linzer Volksblatt, - November 1996
An outstanding occurrence thanks to the superb conducting of Arild Remmereit.
The international experienced Norwegian who directed from memory, made the
subtleties of the music audible. The conductor convinced with his
apprehension of Anton Bruckners Fourth Symphony. With youthful freshness he
added exceptional transcendence, complicity of nuances and great love for
details. Transitions succeeded splendidly. The wind chorales and individual
tone pictures impressed deeply. The profoundly engaged conductor succeeded
superbly with the orchestra in this performance. The audience responded with
enthusiasm.
- Salzkammergut Nachrichten, - November 1996
The first ever performance of Johann Evangelist Haberts Symphony in C,
completded in 1872, is a manifestation of Austrian music history. The young
Norwegian conductor Arild Remmereit directed both this symphony and the
following Bruckner Symphony from memory with much sensibility, clear
gestures and impressive knowledge of the works. A successful performance
with an engaged orchestra. A concert of a special kind.
Odense Symphony Orchestra, Ravel, Beethoven
- Jyllandsposten, - September 1996
Arild Remmereit, the young Norwegian conductor, held the Odense Symphony
Orchestra completely in his ands. Hi established an excellent communication
width the musicians. Ravel "La Valse" appeared in an glittering play of tone
color, Remmereit, confident width sweetness, elasticity of tempo and the
typical "lift" in the phrasing, emphasized it all in a brilliant way.
In Beethovens "Pastorale" Symphony, Remmereit let the first movement start in
an unusual slow tempo. Thereafter, he developed a faster, but still a little
reserved tempo, a true natural scenery. He gave time to round off phrases and emphasize the expressive with a little hesitation at chosen moments.
It was balm for the ears.
- Fyens Stiftstidende, - September 1996
Arild Remmereit is an engaged and enthusiastic conductor. From the opening
stroke he pursues thoughtfully every detail and every single associating the
music gives him without loosing the totality. It is rare to experience a
conductor radiating such a convincing genuine engagement.
Odense Symphony Orchestra, Haydn, Mozart, Suk
- Fyens Stiftstidende, February 1996
Arild Remmereit possesses a curious mixture of elegance, authority and
boyish shyness, an unbelievable suggestive sensuous conductor. His moveme
ntsare wide and reaching. In places the music seems to flow form his ands
reaching the musicians who convert individual tones into blissful music.
__________________________________________________________
______________1995
Norrkoping Symphony Orchestra, Rimsky Korsakov / Sheherazade
- Fo, - October 1995
(Rimsky Korsakov / Sheherazade)
Arild Remmereit, the distinct conductor, made the orchestra respond
willingly creating a performance with tension and beauty.
The lyric third movement was conducted (without a batron) by soft circular
yet distinct arm movements. An orchestral success! Remmereit literally held
the orchestra in his hands. A conductor to be remembered.
____________________________________________________________
____________1994
Czech Philharmonic Orchestra, Beethoven / Symphony Nr.9
- Wiener Zeitung, - November 1994
Arild Remmereit, the young charismatic conductor, made the excellent
National Philharmonic of Brno play with outmost rhythmic precision. He
motivated the musicians to a degree achieved only by Simon Rattle since the
time of Leonard Bernstein.
Vienna Residenz Orchestra, Johann Strauss / Walzers, etc.
- Wiener Zeitung, - August 1994
The waltz concert was a brilliant proof of Remmereit´s outstanding conducting
talent and extraordinary musical abilities. Participating in an opera under
the baton of such a conductor must be a treat to the singers and
exhilarating to the audience.
Ukrainian National, Philharmonic Orchestra, Mozart / Requiem
- Wiener Zeitung, December 1993
Conductor Remmereit´s results with the Ukrainian National Philharmonic is
sort of a miracle. I cannot recall a more heartfelt and touching performance
of Mozart Requiem than with Remmereit conducting in the Votivkirche.
|
|