Press

Maestros from La Scala’s pantheon of conductors have made L’amore dei tre re (“The Love of the Three Kings”) what it is: Italo Montemezzi’s best-known opera. Tullio Serafin led the work’s premiere at the Milan house in 1913, winning the local audience’s favour, while the towering Victor de Sabata conducted a production two decades later. No pressure on Pinchas Steinberg, then, the Israeli conductor who was leading the first staging of the work in 70 years at the temple to Italian opera.
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But, fine singing aside, this was Steinberg’s night.

James Imam, Financial Times, October 2023

The Opera Australia Orchestra, released from its usual place in the pit of the Joan Sutherland Theatre, gave a mighty performance of the music under the baton of Pinchas Steinberg. Steinberg's control of dynamics and mood-setting ensured that the dance music danced, blood-and-thunder moments roared and lyrical passages sang. Steinberg’s impeccable direction allowed the tiniest details to shine through the texture like fireflies at night while remaining inextricably part of the fabric of the piece.

Deborah Jones, Limelight Magazine, August 2023

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 and 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.

A 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.

Translated from RÉMY LOUIS, DIAPASON

Dans Ma Vlast, c’est le soufflé, la continuité, la cohérence cyclique, précisément, qui impressionent. Mas après Sarka, la fusion opére 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, é 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.

RÉMY LOUIS, DIAPASON

LUDOVIC TÉZIER AND PINCHAS STEINBERG SIGN AN EXCEPTIONAL SIMON BOCCANEGRA AT THE MONTE-CARLO OPERA

An impassionate standing ovation paid tribute to a concert version of Simon Boccanegra of Guiseppe Verdi given Sunday March 5th at the Rainer III auditorium in Monaco.

Between an excellent vocal cast [...] and a masterful musical direction which brought out the finest qualities of the Monte-Carlo Philharmonic Orchestra. [...] the enthusiasm of the public was genuine and merited.

The flawless interpretation of conductor Pinchas Steinberg does not surprise us in the least. We already knew about the undeniable talent of the maestro from his previous productions in the Principality, whether it was Une Tragédie Florentine, Pagliacci in February 2015 or Fanciulla del West in November 2012.

As if mounted on invisible springs, the rather frail silhouette of Pinchas Steinberg is in opposition to the strong fervour of his baton, which cuts through the air with incredible precision. With opened arms Steinberg creates a rarely heard power at the end of the prologue, while at other times he brings down the intensity of the orchestra in order to respect the delicate qualities of a voice. The Monte-Carlo Philharmonic responds with impeccable instrumental integrity and allows us to enjoy a myriad of nuances from dense to refined, from ethereal to dazzling.

The Maestro leads singers and chorus with the same integrated precision. A sublime result which allows us to be aware of the tremendous craftsmanship behind the scenes.

Jean-Luc Vannier, www.musicologie.org, 6 March 2017

A Simon Boccanegra of Great Musical Value

Announcing an evening of “Great Voices“, it was indeed a cast of high quality and great unity that was proposed this Sunday to the public of the Theatre of the Champs Elysées under the masterful direction of Pinchas Steinberg. Mr. Steinberg draws a myriad of colors and musical expression out of the Orchestre Philarmonique de Monte Carlo, interchanging moments of ethereal weightlessness with powerful passages of considerable dramatic weight, driven by intense physical engagement.

The Maestro’s precise baton is grounded in a deep-seated knowledge of the score, visually singing the soloist parts in order to bring out phrasing and breath. He leads his interpreters through each accent and nuance: musicians and singers all respond to these demands in the same spirited commitment.

The Opéra de Monte-Carlo Chorus […] equally powerful and refined, is perfectly integrated.

The value of the piece, which like Ernani is relatively rarely programmed, is entirely validated by this musical interpretation.

Damien Dutilleul, Olyrix, 3 March 2017

STEINBERG & DSO OFFER SUPERB DVORAK

Again and again, with guest conductor Pinchas Steinberg on the podium, I marvelled at the sheer polish and eloquent pliancy of the playing - with plenty of excitement when called for. It was most vividly displayed in the Dvorak Eighth Symphony [...]

Steinberg has extensive experience in opera as well as symphonic music, and the former showed in a wonderfully vocal feeling for phrases. Notable too, was his attention to balances, and to fine nuances of pianissimo [...] Steinberg seem also to give the orchestra musicians freedom to add their own expressive touches.

All told, you'd be hard-pressed to hear a more compelling Dvorak Eighth anywhere.

Scott Cantrell, The Dallas Morning News, 4 November 2016

EIN TRIUMPH DER LIEBE - UND DES DIRIGENTEN

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.

Daniel Wagner, Wiener Zeitung, 30 April 2012

A TRIUMPH FOR LOVE... AND THE CONDUCTOR

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

Translated from DANIEL WAGNER, WIENER ZEITUNG, 30 APRIL 2012

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.

Translated from PAOLO ISOTTA, CORRIERE DELLA SERA, MARCH 2012

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

En fait on avait vite délaissé la scéne 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.

JEAN-CHARLES HOFFELÉ, CONCERTCLASSIC.COM, SEPTEMBER 2011

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 distils 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.

Translated from BERTRAND BOLOGNESI, ANACLASE.COM, SEPTEMBER 2011

La fosse est conduite par un Pinchas Steinberg orfévre qui initie l’exécution dans une folle tendresse, scellant d’autant plus aisément les chaos á venir. Á 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 á 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.

Bertrand Bolognesi, anaclase.com, September 2011

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 evokes none other than Fritz Reiner's.

Translated from JEAN-CHARLES HOFFELÉ, CONCERTCLASSIC.COM, SEPTEMBER 2011

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.

Zachary Lewis, THE PLAIN DEALER, 4 December 2010

Si Cio-cio San habite la scène grâce á 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 á affirmer le caractére 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.

RESMUSIC.COM, 21 NOVEMBER 2010

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 Puccini and conducts the orchestra of the Teatro Regio creating an intensity of colours 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.

Translated from RESMUSIC.COM, 21 NOVEMBER 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.

LA STAMPA, 16 NOVEMBER 2010

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.

Translated from LA STAMPA, 16 NOVEMBER 2010