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Umberto Giordano, Andrea Chénier, Wiener Staatsoper

Der eigentlicher Star des Abends war Pinchas Steinberg, der - trotz vieler Gastspiele im Wiener Haus - erst nun sein hiesiges "Chénier" - Debüt hatte. Präzise und mit jeder Menge Schwung gab er Anweisungen, gegen die niemand im Graben oder auf der Bühne hörbar opponierte.


The true star of the evening was Pinchas Steinberg who conducted the orchestra and singers with precision and fire.

Daniel Wagner, Wiener Zeitung, April 30, 2012
Richard Strauss, Salome, Opéra National de Paris
La fosse est conduite par un Pinchas Steinberg orfèvre qui initie l’exécution dans une folle tendresse, scellant d’autant plus aisément les chaos à venir. À ce départ d’amoureuse sonorité répond bientôt l’indicible onctuosité des cordes (« Wie gut ist’s, in den Mond zu sehn… ») sur les premiers pas de Salomé. Main dans la main avec la conception scénique, le chef distille une interprétation à la moire puissante, dans un halo confortable et souple où les moments les plus tendus, les plus brutales incises jamais n’accusent quelque siccité que ce soit, sans pour autant paraffiner trop le ravissement de l’expressivité.

Pinchas Steinberg masterfully begins the evening by creating an atmosphere of extreme tenderness that sets the stage for the chaos that is yet to come.  In response to this ardent opening the opulent string sound beckons the initial entrance of Salomé ( “ Wie gut ist's, in der Mond zu sehn..." ) Hand in hand with the staging, the conductor distills an interpretation with eloquent power in a comfortable and supple halo in which the tensest moments, the most brutal accents never become dry nor indulgent.

Bertrand Bolognesi,, September 2011

En fait on avait vite délaissé la scène pour la fosse : l’œil froid de Pinchas Steinberg, son geste précis et acerbe [...] disaient à eux seuls le drame. [....] tout le génie de Strauss y éclate pourtant sans jamais couvrir le plateau. Art souverain, qui en Salomé nous évoque rien moins que celui de Fritz Reiner.

The authority of Pinchas Steinberg, his precise and exacting gestures [.....] narrate the entire story [....] All the genius of Strauss' opera explodes without ever covering the voices.  An absolute mastery of Salomé which evoques none other than Fritz Reiner's.

Jean-Charles Hoffelé,, September 2011
Hector Berlioz, Symphonie Fantastique, Cincinnati Symphony Orchestra
On the podium, guest conductor Pinchas Steinberg returned for the second time this season, and wowed the good-sized audience in Music Hall with his interpretation of Berlioz's "Symphonie fantastique" after intermission.
Steinberg, who gripped the audience in November with Prokofiev, had them cheering with Berlioz’s “Symphonie fantastique.” Born in Israel, he is a deeply musical leader who is dynamic without being flamboyant. Clearly, he knows how to get results.
Berlioz’s symphony on a drug-induced fantasy world is entertaining, both for its brilliant orchestration and its vivid story-telling. Steinberg, who conducted from memory, led a reading was detailed, crisp and expertly paced. The musicians responded with a polished, exciting performance, and there were many stunning contributions from orchestral soloists.

Janelle Gelfand, Cincinnati Enquirer, March 2012

Giacomo Puccini, Madama Butterfly, Opera di Roma
Al termine di una serie di rappresentazioni come sempre fortunatissime all'Opera di Roma, occorre dire che il primo merito va ascritto al maestro Pinchas Steinberg, eccezionale conoscitore della partitura e così autorevole da lasciarla fluire senza che nulla gli sfuggisse di mano. Era uno spettacolo guardare il suo gesto ardito insieme e chiaro eppur capace di suggerire con gusto purgatissimo tutto quanto è di non scritto nei ritmi della partitura.

At the end of a series of very successful performances at the Rome Opera House, one needs to say that this success was due principally to Maestro Steinberg, an outstanding connoisseur of the score. It was a spectacular performance, he was in total command with bold,clear and expressive gestures

Paolo Isotta, Corriere della Sera, March 2012
Cleveland Orchestra, works by Nicolai, Nielsen and Mahler, December 2010
In a recent interview Pinchas Steinberg likened the Cleveland Orchestra to a Rolls-Royce, and apt analogy for an ensemble with a powerful engine under a shiny musical hood. But if the orchestra is a luxury car, then Steinberg’s concert was no mere jaunt. Rather, it was a thorough evaluation, with a large symphonic staple, a challenging concerto and a brilliant overture putting the vehicle through its paces. What’s more, all systems performed beautifully. Steinberg set forth his intentions with Nicolai’s overture to “The Merry Wives of Windsor”. That he’s an artist of great precision and animation was immediately clear, and the sprightly, vivid performance quickly whetted the appetite, as overtures should. In the same interview as the Rolls-Royce comparison, Steinberg said his goal with the orchestra this week was to present performances impossible to take in passively. It’s is a mission he can consider accomplished yet again. Mahler’s Symphony n. 1 is this orchestra’s bread and butter, part of the canon the group has been groomed over decades to play especially well. Still, Steinberg was firmly in command, leading from memory a keenly articulate performance marked equally by emotional and dramatic intensity. Just as Mahler himself frequently recasts the same music, so did Steinberg find ways to endow repeated sections with fresh significance. And if Mahler in the first movement asks for a natural unfolding, he got it from Steinberg, in a reading notable for its organic accretion of force. Try as he might, even a listener prepared for the last movement’s opening outburst was still caught off guard by the raw severity of the boom unleashed by Steinberg and the orchestra. Yet if that marked peak volume, the rest of the movement also entailed heights of tenderness and lyricism. It was Mahler at his most mercurial, and by the end, Steinberg had guaranteed nothing was left in the tank.
The Plain Dealer, Zachary Lewis, December 4, 2010 
Puccini, Madama Butterfly, Teatro Regio di Torino, Novembre 2010
L’esecuzione musicale diretta da Pinchas Steinberg è meritevole d’attenzione perché questi, a sua volta, non fa la consueta “Butterfly” al miele, ammantata di svenevole sentimentalismo. Il suono anzi è secco e tagliente...Ed è il suono di un Puccini moderno.

The musical performance conducted by Pinchas Steinberg deserves attention, because he doesn’t do the usual honeyed “Butterfly”, full of mawkish sentimentalism. In fact, the sound is dry and sharp… and it is the sound of a modern Puccini.
Corriere della Sera, Enrico Girardi, November 14, 2010

Qualche idea musicale in più viene dalla buca d’orchestra, dove il gesto esperto di Pinchas Steinberg sguscia ricchezze impreviste di disegni in partitura. Non ci sarà la malinconia, la lacrima sul coro a bocca chiusa, ma il respiro colto, internazionale, di un Puccini sprovincializzato, sì.

Some further musical idea comes from the orchestra, where the expert gesture of Pinchas Steinberg extracts an unexpected richness of patterns from the score. There is no melancholy, no tears on the humming choir, but yes, there is the cultured and international breathing of a Puccini free from provincialism.
Il Sole 24 ore, Carla Moreni, November 14, 2010

Alla partitura più raffinata di Puccini, che coglie l’ambientazione giapponese come leggerezza e vaporosa trasparenza, Steinberg assicura scorrevolezza, precisione e poesia. L’orchestra del Regio lo segue bene: così l’incanto idillico del primo atto si intorbidisce a poco a poco nei colori e nell’armonia, tra silenzi non meno espressivi delle note, sino al tremendo colpo finale.

To Puccini’s most refined score, which seizes the Japanese setting in its lightness and filmy transparency, Steinberg assures fluidity, precision and poetry. The orchestra of the Regio followed him well: in this way the idyllic enchantment of the first act gradually darkens in its colours and harmony, among silences which are as expressive as the notes, until the terrible final stroke.
La Stampa, November 16, 2010

Se la musica di Puccini l’esegui davvero come è scritta e non come l’hanno ridotta per sterilizzarne i contenuti, proprio questo descrivono le sue violenze armoniche, le sue strappate melodiche che non parlano di consolatoria melanconia, bensì di disperata schizofrenia. E proprio questo fa splendidamente Pinchas Steinberg alla testa di un’orchestra superlativa e d’un cast quanto mai egregio...Una Butterfly storica.

When Puccini’s music is really performed as it is written – and not as it has been reduced in order to sterilize its contents –, it is exactly this what its harmonic violences describe, its ripped melodies which do not speak of a comforting melancholy, but of a desperate schizophrenia. And this is exactly what Pinchas Steinberg does at the head of a superbe orchestra and a magnificent cast… a memorable Butterfly.
Il Giornale, Elvio Giudici, November 14, 2010

Si Cio-cio San habite la scène grâce à la main du metteur en scène, elle est sublimée par l’apport d’une direction d’orchestre inspirée. Sous sa baguette, Pinchas Steinberg grandit la musique de Puccini et dirige un orchestre du Teatro Regio rarement aussi coloré, aussi brillant.
Au terme de cette soirée, les commentaires enthousiastes du public étaient unanimes à affirmer le caractère exceptionnel de ce spectacle. Un heureux renouvellement de la tradition du chant de l’opéra italien, avec son caractère si admirablement excessif qui, malgré la modernité des décors et de la mise en scène, conserve l’identité du spectacle total.

If Cio-Cio San comes alive on stage through good direction, she is exalted by the addition of inspired conducting.  Pinchas Steinberg elevates the music of Pucccini and conducts the orchestra of the Teatro Regio creating an intensity of colors and a brilliance rarely heard. At the end of the evening the enthusiasm of the public was very evident, and the commentaries unanimous in confirming the exceptional quality of this production.  A welcomed renewal with the Italian opera tradition and its character, so admirably excessive, which retains here its full identity even under a modern staging., November 21, 2010
Korngold, Die Tote Stadt, Teatro Real de Madrid, June 2010
Die tote Stadt, tout comme Das Wunder des Heliane, est un opéra d’orchestre, riche, coloré, inépuisable, une vague musicale infinie. Un grand chef s’impose. Pinchas Steinberg est un des grands triomphateurs de la soirée, avec son dynamisme, son attention au détail, sa vision d’ensemble, très analytique, qui communique à la scène et à la salle une sensation parfois d’ivresse et d’ahurissement. Un chef de premier rang.

Die tote Stadt, like Das Wunder des Heliane, is an opera that highlights the orchestra, rich, colorful, with infinite depth and a neverending musical line. It calls for a master interpreter. Pinchas Steinberg is one of the champions of the evening.  Through his vitality, his attention to details, his profound understanding of the whole score, his incredible precision, he communicates to both stage and audience a palette of sensations allowing all to feel bewildered and spellbound. A great conductor.
Concertonet, Santiago Martin Bermudez, June 2010

No tengo duda. Es la major representacion de opera de este curso en el Real: la mas redonda, la mas equilibrada, la mas inquietante, la mas desgarrada, la que desprende mayor sensacion de autenticidad, la mas profunda. En primer lugar por la extraordinaria direccion musical de Pinchas Steinberg. El veterano maestro ha sacado petroleo de la Sinfonica de Madrid, y esta ha respondido con una ejecucion cargada de sentido dramatico, portentosa en los matices. La pregunta que viene a continuacion es por que la misma orquesta ha brindado en otras ocasiones versiones tan tediosas. Que cada uno saque sus conclusiones oportunas.

No doubt about it: it’s the best opera performance of this season at the Real: the best because it’s the better balanced, the most thrilling and heartbreaking, the most authentic, the deepest.
First of all, due to the extraordinary musical direction of Pinchas Steinberg. The veteran maestro showed off the Orquesta Sinfónica de Madrid at its best. The orchestra responded with a performance fully dramatic, magnificent in its nuances. And now comes the question: how is it possible that this same orchestra gave such boring versions in other occasions? Everyone should come to his own conclusions.
El Pais, Juan Ángel Vela del Campo, June 16, 2010

Merece la pena destacar algunas singularidades a partir del estreno de anoche. La direccion musical de Pinchas Steinberg puede ser la primera pues deja el regusto del oficio profundo y sabio que llegara a lo sublime en el momento en que la Sinfonica de Madrid se proponga ayudar con sonido de calidad.
Some singularities in the première of yesterday deserve to be highlighted. The musical direction of Pinchas Steinberg should be the first one, as it leaves behind the aftertaste of the profound and wise know-how that will lead us to the sublime when the Orquesta Sinfonica de Madrid contributes with a sound of quality.
ABC, Alberto González Lapuente, June 15, 2010

La batuta de Pinchas Steinberg obtiene de la orquesta sus mejores virtudes, ductilidad, entrega, sentido del empaste, en una interpretacion gozosa que demuestra, una vez mas, como el foso responde al brio y la pericia de un director que tiene algo que decir. El publico recibio la novedad con una atencion que pronto se desplazo del respeto al aprecio, para terminar en el entusiasmo que sabe premiar a los responsables de un regalo quizas inesperado. La notable version musical se plegaba como un guante a la concepcion escenica de Willy Decker,

Pinchas Steinberg’s baton obtains from the orchestra its best virtues: ductility, commitment, sense of ensemble, all in a joyful interpretation that shows, once again, how the pit reacts to the spirit and expertise of a director who really has something to say. The public received this novelty with what soon changed from mere attention to respect, then appreciation, to end in an enthusiasm awarding those responsible for such an unexpected gift. The outstanding musical version fits like a glove to the scenic conception by Willy Decker.
El Mundo, Álvaro del Amo, June 15, 2010

Pinchas Steinberg desde el foso, fue el dueño de la noche, consiguiendo una de las mas redondas actuaciones que se recuerdan de la Sinfonica de Madrid.

Pinchas Steinberg, from the pit, was the landlord and owner of the night, bringing out one of the most fulfilling performances of the Sinfónica de Madrid one could remember.
La Razon, José Luis Pérez de Arteaga, June 15, 2010
Robert Schumann, Szenen aus Goethes Faust, Teatro alla Scala, February 2010
Steinberg rende giustizia alla Trasfigurazione di Schumann
Un contributo fondamentale all’equilibrio viene dalle capacità del direttore d’orchestra. ….. Ne è stata conferma l’eccellente interpretazione del Maestro Pinchas Steinberg che ha condotto al successo le folte masse – Filarmonica, Coro e Voci Bianche del Teatro alla Scala – attente e disciplinate a chi li guidava. Sotto la sua mano ferma e precisa le tre parti delle Scene hanno fornito non la prova della loro impossibile unità d’origine, ma quella, ben più profonda e alta, che Schumann sia riuscito in gran parte a trasformare il genio di Goethe in musica. Molto apprezzata la duttilità di Steinberg negli “accompagnamenti”, dove si distingue un vero direttore.

Steinberg does justice to Schumann’s Transfiguration
(…) A fundamental contribution to the balance is given by the conductor’s ability. (…) This has been confirmed by the excellent performance of maestro Pinchas Steinberg, who has successfully conducted the large masses: the attentive and disciplined Philharmonic Orchestra, Choir and Children’s Choir of the Teatro alla Scala. Under his firm and accurate hand the three parts of the Scenes have proved that their original unit isn’t impossible to achieve, but that Schumann succeeded in great measure in transforming Goethe’s genius in music. Very much appreciated was Steinberg’s ductility in the “accompaniments”: this is where a real conductor distinguishes oneself.

Giovanni Gavazzeni, Il Giornale, February 10, 2010

Pinchas Steinberg triumph at the Opera Bastille with " Die tote Stadt " by Korngold

Magnificent "Tote stadt" at the Opera Bastille

Partition fourmillante et éruptive, La Ville Morte est un opéra de chef. Avec Pinchas Steinberg, il trouve un défenseur idoine. À la tête d'un orchestre de l'opéra qu'on a rarement entendu aussi flamboyant, jamais le chef israélien ne joue la carte de la décadence ni celle du bastringue. Il ne se laisse également pas enivrer par la musique, et écoute les chanteurs, pour qui cette œuvre est une montée du Cervin à mains nues.

A dense and torrential score, Die Tote Stadt is a conductor's opera.  With Pinchas Steinberg it found its champion.  Leading the opera orchestra rarely heard in such radiant form, the Israeli conductor never plays the self indulgent nor the sensationalist card.  He also does not allow the music to intoxicate him, but rather stays geared to the singers, for whom this work is like climbing the Cervin with bare hands.

Nicolas d'Estienne d'Orves, Le Figaro, October 5, 2009 

"Die Tote Stadt" - Korngold's most famous opera, wins over the Opera Bastille

En fosse, Pinchas Steinberg, qui n’est pas un effusif, dirige cette splendeur sonore en la contenant juste ce qu’il faut : ce retrait donne une fermeté érotique irrésistible à cette musique à la sensualité débridée.

In the orchestra pit Pinchas Steinberg who is not effusive, controls this masterpiece exactly as it should be: this discipline unleashes an irresistible erotic strength throughout this usually unrestrained sensual music.

Renaud Machart, Le Monde, October 6, 2009

Egalement à la hauteur de l’enjeu, la direction d’orchestre. Voir la battue sans affects de Pinchas Steinberg tirer de la partition de Korngold une palette de rythmes et de couleurs d’une telle subtilité ne cesse de fasciner. Sous cette direction cartésienne, l’orchestre de l’Opéra s’épanouit avec une liberté et une virtuosité très rarement entendues. Une fantaisie sonore d’une beauté spectaculaire se développe tout naturellement dans nos oreilles, alors que l’œil seul ne discerne que rationalité rigoureuse. Un mystère qui rend pleinement justice à la créativité d’Erich Korngold.

Equally up to the task is the orchestra conducting.  To see the economical gestures of Pinchas Steinberg  pull out of the score a palette of rhythms and colors of such subtlety is fascinating .  Under his cartesian direction the Opera orchestra blossoms with a freedom and virtuosity very rarely heard.  A sonic fantasy of spectacular beauty develops naturally to the ear, while the eye observes  a rigourous supervision. An enigma that serves completely the creativity of Korngold.

Clément Taillia, Forum Opera, October 3, 2009

La fidélité de Nicolas Joel à certains artistes nous vaut de retrouver ce soir Pinchas Steinberg à la tête d'un Orchestre de l'Opéra national de Paris en grande forme. Si l'on se rappelle un Tristan de grande classe et, surtout, une ma-gnifique Frau ohne Schatten dans la fosse du Capitole,  rien d'étonnant à ce qu'on ne perde rien ici des complexités et parfums de la partition, goûtée pupitralement jusqu'en ses moindres détails. Mariant puissance et délicatesse, grâce à une réalisation exemplaire de chaque trait solistique et à une vision d'ensemble d'une extrême pertinence dramatique, c'est un grand souffle que le chef offre à Die tote Stadt.

Nicolas Joel's affinity for certain artists brings back Pinchas Steinberg at the head of an Orchestre de l'Opera national de Paris in great form.  If one remembers  an exceptional Tristan and a magnificent Frau ohne Schatten at the Capitole (...) , it is no surprise that here there is also a spectacular rendering of he score down to the smallest details. Mixing strength and subtlety, with attention to all solo nuances encompassed in a pertinent dramatic vision, he greatly inspires this Tote Stadt.

Bertrand Bolognesi,, October 9, 2009

Dans la fosse, on sait gré à Pinchas Steinberg de porter l’Orchestre de l’Opéra aux sommets, dans une lecture évitant toute complaisance et tout sirop vériste au profit d’une vraie avancée théâtrale, d’une trajectoire contenue, montant en tension progressivement pour aboutir à des cataclysmes qui ne contredisent en rien un soin constant à ne pas matraquer le plateau.

Pinchas Steinberg in the pit, brings the Opera orchestra to its pinnacle.  He avoids all self indulgence in the reading of the score bringing out the dramatic thread, with tremendous restraint, building tension to cataclysmic heights while never threatening the singers.

Yannick Millon,, October 27, 2009

February, March, April, 2009
Tchaikovsky, Symphony n.4, Cleveland Orchestra (Miami)

Tchaikovsky's "Symphony No. 4" on the other hand is about as grand and robust a work as there is. And last night the Cleveland Orchestra made it even greater still.
And in the hands of Conductor Pinchas Steinberg and Cleveland's namesake Orchestra, that core is realized with all nuance and care with which it was written - and all the sweep and the majesty with which it was always meant to be heard.

John Hood, Miami New Time, April 4, 2009

The final program of the ensemble's Miami season [.......] was a largely successful one, with another essay in late Romantic favourites, led effectively by guest conductor Pinchas Steinberg.
 [.......] the conductor  was an engaged and energetic presence [.......] The whirlwind finale, with its frenzied rejoicing, showed a surprising degree of animal intensity not always evident from this ensemble, rounding off the evening in high-octane fashion. The Cleveland Orchestra's lean, refined brilliance suits this light-hearted showpiece quite well, and Steinberg led a worthy, dynamic performance.

Lawrence A. Johnson, Miami Herald, April 4, 2009

Steinberg, a sus 63 años, tiene juventud y energía para regalar. Su estilo es vigoroso, efervescente y --al menos en el programa del sábado-- alegre, vibrante. Abrió la noche con la divertida y chispeante Obertura de La escuela del escándalo, de Barber, la cual tomó a toda velocidad y destacando sus momentos explosivos. El público aplaudió larga y entusiásticamente; pero eso sólo fue el comienzo.
La segunda parte de la noche estuvo totalmente dedicada a la Sinfonía no. 4, en fa menor, op. 36, de Chaicovsky [.......] Era evidente que Steinberg tenía muy clara su visión de esta sinfonía, porque desde el primer movimiento hasta el último estuvo muy en control de cada pasaje, cada frase, cada detalle. A veces acercaba su mano derecha al corazón, como pidiendo a los músicos más sentimiento, mayor entrega. El ver a este titán del podio dirigiendo es una experiencia inolvidable. Y cabe preguntarse de dónde saca tanta energía. Debe ser la música sin duda; porque su labor y la de sus músicos en esta obra a todos los asistentes los colmó también de energía. Se veía en los rostros del público al final una profunda satisfacción ante esta ejecución ejemplar.
Steinberg, que tiene una larga experiencia dirigiendo ópera, sabe impartir a sus interpretaciones una buena dosis de dramatismo, su entrega de esta obra de Chaicovsky fue no sólo impecable, sino profundamente impactante. El público ovacionó por largo rato, y con razón.

Daniel Fernandez, El Nuevo Herald, April 7, 2009

Beethoven, Christus am Oelberg, Orchestra dell’Accademia di Santa Cecilia

All’inizio doloroso e impressionante seguono pagine all’apparenza piuttosto convenzionali ma a quel momento è salita in cattedra la scelta interpretative di Steinberg perché non ha concesso in alcun momento un calo di tensione […..] Con temperamento non meno marcato Steinberg ha plasmato poi lo sbalzo espressivo della Seconda Sinfonia di Schumann, distinguendosi sia negli agitati movimenti esterni, sia nel rapido scherzo e nel poeticissimo Adagio. Eccellente impegno dell'orchestra.

Steinberg's dramatic interpretation was full of pathos and expressiveness. Steinberg kept the tension even in some of Beethoven's weaker points in the composition, it was impressive.
In Schumann's 2nd symphony Steinberg's strong expressive temperament and interpretative skills came once again to the fore in each movement, the agitated 1st and 4th movements, the rapid Scherzo and a very poetic Adagio. All this resulted in excellent playing by the Santa Cecilia Orchestra.

Corriere della Sera, Luigi Bellingardi, March 23, 2009

Tchaikovsky, Symphony n. 4, Cleveland Orchestra

Pinchas Steinberg is a welcome guest conductor, and deservedly so. He and the orchestra always seem to indulge in a mutual admiration effect, drawing the audience right in with them .... In the words of Dan Gilbert .... it was “fantacular, extraordulous and phenomerful." I couldn’t have said it better myself. 
Kelly Ferjutz, Cool Cleveland , February 14, 2009

Since his debut with the Cleveland Orchestra in December 2001, Pinchas Steinberg has returned to Cleveland as a guest conductor frequently enough to have a quantifiable rapport with the players. Under his articulate and communicative baton, they play with a collective personality distinct from their performances under other maestros; they become the Steinberg Cleveland Orchestra. Steinberg's precise and voluble stick technique can't hide the fact that he is a big romantic at heart, which was evident from the opening notes ..... Steinberg broadened the tempo perfectly and shaped the orchestra's underpinnings with a sensitivity that reminded one of his decades as an acclaimed conductor of opera.
Mark Satola, The Plain Dealer, February 15, 2009

Ma Vlast, Smetana, Orchestre de Paris, Salle Pleyel, Paris

Dans Ma patrie, c’est le soufflé, la continuité, la cohérence cyclique, précisément, qui impressionent. Mas après Sarka, la fusion opère pour délivrer une tension et une générosité fascinantes. La caractérisation de chaque épisode est remarquable, tout comme la netteté des rythmes, et leurs changements. Plein et large, héroique meme , Steinberg sait varier les climats, suspendre le flux orchestral pour privilégier une respiration poétique, obtenir des bois ces attaques et phrasés, à l’enthousiasme contagieux. Wagnérien émérite, il établit avec une rare exactitude au début de Tabor ce climat particulier qui évoque si nettement la dramaturgie orchestrale du créateur de Bayreuth, instant mémorable, d’un relief expressif revigorant, étranger aux lectures de plus en plus éthereés et etirées qui infestent souvent le grand répertoire aujourd’hui.

In Ma Vlast it is the breath, the flow, the overall coherence of the cycle precisely that are impressive (....). In Sarka everything consolidates to create a fascinating tension and generosity. The rendering of each section is remarkable, as well as the purity of the rhythmic pulse and its variations. Full and bold, even heroic in Sarka adn Blanik of course, Steinberg knows how to create moods, restrain the orchestra in order to give more emphasis to the poetic breath, and obtain attacks and phrasing from the woodwinds that ultimately create a contagious enthusiasm. Renowned Wagnerian, he establishes with rare exactitude this particular sense of movement and expectation that evokes the creator of Bayreuth. Memorable moment full of expression and depth, far away from the more and more superficial and indulgent renderings of the great repertoire heard nowadays.

Rémy Louis, Diapason

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