NEWS - JUNE 2010 
AUSTRALIAN STAGE ONLINE
Dance of the Imagination - Sydney Symphony
Written by Nicholas Routley
Friday, 25 June 2010
“Heard melodies are sweet, but those unheard are sweeter”, said Keats. While I can’t agree with him about music, preferring, like most musicians, actually to hear it, I can sympathise with Keats more in the field of dance. The Sydney Symphony Orchestra’s concert yesterday night was titled Dance of the Imagination, and this title invited the audience to delight in the power of the music of two works which were originally conceived as music for dancing to create in their own minds the dances that were not to be seen last night.
The concert opened, however, with a work which, while indeed conjuring up a wealth of images by its astonishing melodic fecundity, was not intended to be danced; Schubert’s Unfinished Symphony. It is a measure of the power of this work, one of the archetypes of musical romanticism, that it came across so well through the conductor’s restrained, very classical, reading. Oleg Caetani took both movements at exactly the same tempo, allowing almost no rubato, allowing their structure to be clearly discernible, and the startling modulations to speak for themselves.
The dancing began with Percy Grainger’s most ambitious work, The Warriors, which followed the Schubert, not without some incongruity. I had never heard the piece live, and likewise had never seen three pianos in an orchestra before. The work calls for a huge orchestra, with a vast percussion section, and the scoring requires the pianists to lean inside their instruments and play the strings with percussion sticks. You need to see this, because it is very hard to hear it. It is a wild piece, where sections of the orchestra play completely different music from other sections simultaneously, like some of Charles Ives’ music. In fact at one point this disjunction is marked by the exit from the stage of half a dozen brass players who play offstage, even in a different tempo from what is happening onstage.
It seems to be an enormous piece. It sounds as if part of The Rite of Spring has stumbled into Holst’s Planets. But I found it a little frustrating. Several times tunes start that make you remember that Grainger adored folksongs, and every time they get aborted. It lasts 20 minutes, and has ten short sections in that time. Certainly there is always something happening, but at the end I wondered what it was really all about. And the idea of people trying to dance to it beggared at least my imagination.
After the interval the SSO played what I consider the single most virtuosic piece ever written for orchestra, Ravel’s Daphnis and Chloe. This too must be hard to dance, with its 7/8 and 5/4 meters, and is much more often played as an orchestral piece than given as a ballet. Comparisons with The Rite of Spring are in order here, too, as the work was completed just a year before the premiere of Stravinsky’s ballet, and while Stravinsky’s orchestration is sometimes even more spectacular than Ravel’s it is not quite so sophisticated. When Ravel heard Balakirev’s Islamey he was determined to write a piano piece that was even more difficult – the result was Gaspard de la Nuit – and the score of Daphnis seems prompted by a similar motive. It is like attending a fireworks display so spectacular that you practically forget your are standing on the ground. The orchestra was more than equal to it, and under Caetani’s assured and powerful direction seemed to revel in displays of virtuosity that would terrify me. There are solos for many of the individual players, and to name two moments does not mean that there were not dozens of other magic moments – but the dialogue between the cor anglais and the clarinet, and Janet Webb’s incredible flute solos stood out for me as especially delicious.
Daphnis and Chloe incorporates a choir who sing Ah! from time to time, as if the members of the Sydney Philharmonia were being privileged to witness the magic from close quarters, and couldn’t quite think of any words to describe it. If this is fanciful, I can nonetheless sympathise. The audience received this performance with rapture, and I must say I felt proud that Sydney has an orchestra that can put on such a wonderful display.
Fled is that music – do I wake or sleep?
NEWS - JUNE 2010
MT Druitt Standard
Caetani takes us to the brink
21 Jun 10 by STEVE MOFFATT
Oleg Caetani is in Sydney in Sydney for two series of concerts with the SSO.
Conductor Oleg Caetani is well-known to Australian audiences, especially in Melbourne where he was chief conductor for four years. But he is a favourite in Sydney as well and he’s here for two series of concerts with the Sydney Symphony.The first, dubbed Music on the Brink, featured three composers who broke new ground and one who, rather than being innovative, had an amazing hit which made him no money and which overshadowed everything else he wrote.
Haydn lifted musical form from the constraints of the Baroque and into the relative freedom of the Classical era, creating templates for symphonies, concertos, instrumental and chamber music which were largely adhered to until the 20th century.His Farewell symphony is famous for its ending in which all the musicians, including the conductor, depart the stage, leaving just two violinists to complete it. The work made a neatly unconventional opening to this program.
Caetani, tall and with the easy grace of an Italian aristocrat about him, directs with a light but firm touch.
Max Bruch’s violin concerto, like Gustav Holst’s Planets suite, was such an instantaneous crowd-pleaser that he spent the rest of his life trying to get an audience for his other pieces. British violinist Daniel Hope, making his SSO debut, proved an exciting and sensitive soloist in this work with its lush, Hungarian-style melodies and technical demands.
Hope, now based in Germany, was mentored as a child by Yehudi Menuhin and was the youngest-ever member of the blue-chip Beaux Arts Trio.
Arnold Schoenberg so changed the parameters of classical music that many listeners still haven’t forgiven him 100 years on. His Chamber symphony No.1 for 15 instruments predated his move to atonal music and the subsequent 12-note serialism. Although late-Romantic, it does have enough “new” elements to have puzzled Mahler when he heard it, though he strongly defended it against its detractors.
Caetani ended this varied program with an energetic performance of Beethoven’s Eighth symphony. Compact and economic, this work zips along and with Caetani at the wheel we were passengers in a Maserati rather than a Mercedes
NEWS - JUNE 2010
AUDIOPHILE AUDITION
SHOSTAKOVICH: Symphony No. 5 and Symphony No. 9 – Orchestra Sinfonica di Milano Giuseppe Verdi/ Oleg Caetani – Surround Records
......The musical values of this recording while enormous given this virtuoso orchestra under the baton of Oleg Caetani will not be emphasized to any length in this review for obvious reasons; suffices to say that this is not just one more recording of the much-transited Shostakovich orchestral output – this is a historical milestone in sound recording in my humble opinion....
NEWS -JUNE 2010
Frankfurt - Museumorchester
Die Perfekten
Oleg Caetani und Lise de La Salle beim Frankfurter Museumskonzert
Von Bernhard Uske
FR 3.6.2010
Von so einem Dirigenten wünschte man sich eine Schostakowitsch-Gesamteinspielung. Von einem, der die gemeinhin zu brettharten Sisallaeufern geknüpften Klangfaeden der Streichergruppen zum Schwingen bringt. Der mehr als sowjetisches Einheitsgrau tönen und die Ausrede nicht gelten laesst, der Komponist habe unter Stalins Fuchtel sei ne Opferrolle eben nur so grob zum Ausdruck bringen können.
Oleg Caetani war jetzt Gast beim Museumskonzert in der Alten Oper Frankfurt und bot mit der Sinfonie Nr. 6 in h-Moll eine Meisterleistung in der Klangsprachwerdung des Dmitrij Schostakowitsch. Das galt auch für das Orchester: Die Streicher blühten auf wie selten, die Holzbläser mit wunderbaren Soli waren höchste Qualität. Die schweren Blaser und das Schlagzeug, sonst gerne der Schmiedehammer für die Blut-und-Blech-Plasti¬ken der Werke, waren herrlich integriert in sinfonische Klangformen, die ihren Reiz aus artistischer Affektation zogen: rhythmisch und dock flüssig artikuliert. Caetani hielt den gro3en Schostakowitsch-Puls, der allen drei Sätzen eigen ist, in perfekt pendelndem Duktus, der die Ge-schlossenheit des Ganzen unmittelbar auf die Hörer übertrug.
Vorher hatte der Dirigent mit dem d-Moll-Klavierkonzert sich als Vermittler Mozartischer Sensibilität und Sensualität erwiesen, in den Melodiekurven fast romantisch ausgreifend. Lise de La Salle, die den Solopart makellos und apollinisch realisierte, wirkte dagegen sehr hell und leicht. Anatol Ljadows Marchenbild „Der ver-zauberte See" hatte das Konzert mit einer an Ruhe und Versenkung schwerlich zu überbietenden Klang-Ikone eroeffnet
NEWS -MAY 2010
Milano - Orchestra Verdi
Negli stessi giorni ritornava Oleg Caetani alla testa dell'Orchestra Sinfonica di Milano Giuseppe Verdi,sempre presso l'Auditoritun di Milano, con un programma perfettamente mitteleuropeo che prevedeva nella prima parte della serata un'esecuzione di grande precisione, leggerezza e levità giocosa della Sesta Sinfonia in do maggiore"La Piccola"di Frani Schubert mentre nella seconda niente meno che l'opera in un atto Il castello del Duca Barbablù di Béla Bartók su testo di Béla Balasz (nella splendida traduzione nel programma di sala di Giorgio Pressburger) alla quale Oleg Cactani, vero esperto del repetorio Novecentesco russo ed est europeo, ha restituito tutta la sua forza dirompente e terrificante, con le più sottili e recondite sfumature nascoste nelle varie sezioni strumentali dell'orchestra....
Giacomo Di Vittorio,
L'Opera - Giugno 2010
NEWS - May 2010
Koeln Poulenc- Bartok
OPERNWELT
.......Mit Oleg Caetani hat man einen Dirigenten verpflichtet, der das Guerzenich-Orchester ganz auf Transparenz und rhythmische Prägnanz geeicht hat. Auf
der Suche nach dem jeweiligen Klangidiom unterlag das Französische allerdings dem Ungarischen knapp. Fazit: Köln hat unter dem Strich wieder erfreuliche Abende zu bieten.
Christoph Vratz
NEWS -MARCH 2010
Oper Koeln
Online Music Magazine
March 2010
La voix humaine
(Die menschliche Stimme)
Musik von Francis Poulenc
A kékszakállú herceg vára
(Herzog Blaubarts Burg)
Musik von Béla Bartók
.........Grandios ist aber auch hier das Dirigat Oleg Caetanis, der sehr anpassungsfähig sowohl die großen Spannungsbögen als auch kleinteilige Entwicklungen und Details ausmusizieren lässt. Die Musik lädt sich immer wieder mit großer Spannung auf, darf in ruhigeren Linien mit großer Ruhe ausschwingen. Ganz ausgezeichnet werden die Sänger in den orchestralen Fluss eingefügt, getragen, aber nie zugedeckt. Das alles klingt jederzeit homogen und natürlich, als dürfe es gar nicht anders sein. Das Gürzenich-Orchester, in der Oper zuletzt selten besser als ordentliches Mittelmaß und meist schlampig im musikalischen Detail, präsentiert sich in prächtiger Tagesform, virtuos in den Soli (besonders hervorzuheben die Trompete). So durch und durch souverän ausgestaltet und auf den Punkt genau musiziert ist in der Kölner Oper lange keine Partitur mehr erklungen.
FAZIT
Ein ungewohntes Operndoppel, musikalisch zupackend, dramaturgisch intelligent und mit tollen Bildeffekten - eine der stärksten Produktionen der laufenden Saison und nach meinem Empfinden die beste in Köln seit langer Zeit. Mit Abenden wie diesem kann sich das Haus wieder in die erste Reihe der Musiktheater spielen
NEWS - MARCH 2010
FINANCIAL TIMES.
La Voix humaine/Herzog Blaubarts Burg, Oper der Stadt Köln
By Andrew Clark
March 23 2010
........ When the Cologne Opera visited the Edinburgh festival three years ago with its Capriccio, it took away a sheaf of appalling reviews. This new double bill marks the company’s return to the front rank. Guarantor of its quality is Oleg Caetani, the highly experienced conductor who looked set to become English National Opera’s music director. As he did at ENO, Caetani gets the very best from the Gürzenich Orchestra, shaping the dramatic contours with a wonderfully expressive balance of freedom and control. His handling of the Bartók was especially strong, as much for its legato lyricism as its controlled violence. When will Caetani’s gifts be properly recognised in the UK? It’s time one of the London orchestras invited him
NEWS - DECEMBER 2009
FINANCIAL TIMES - Classical music
Tchaikovsky: Complete Symphonies
By Andrew Clark
Published: December 12 2009
Tchaikovsky
Complete Symphonies
Oleg Caetani
ABC Classics (6 CDs)
Do we need another set of Tchaikovsky symphonies? More to the point, do we need them from the little known Melbourne Symphony Orchestra?
Having listened and re-listened to these live recordings, the answer is an emphatic yes.
The MSO may not be one of the world’s great orchestras – there’s an occasional hint of sourness in the winds – but these are surprisingly stylish performances, full of adrenalin and purpose. What tips the balance conclusively is the interpretative flair of Oleg Caetani, a maverick conductor who happens to be a great musician...
Caetani didn’t arrive or disappear without trace...possesses one of the most natural techniques I have seen – evidenced by his hugely inspirational ENO performances of Khovanshchina and Sir John in Love, the memory of which I will always cherish...
Caetani is not an indulgent Tchaikovskyan. Tempi are brisk, well moulded, consistent within a wider span: the grand arcs of folk-infused Romantic melody unfold with an irresistible sweep.
In the first three symphonies he finds an ideal blend of fluency and atmosphere – the playing is superbly balanced and drilled, the balletic scherzos as taut as the rumbustious finales. The Fourth has momentum and refinement, the Fifth a sense of poetry (especially in the second movement’s great horn theme) that banishes the symphony’s hackneyed associations. Here and in a powerful Pathétique – where, to his great credit, he passes from march to finale without pause – Caetani lets Tchaikovsky speak for himself: the contrapuntal rigour, the emotional tenderness, the occasional hint of hysteria within a classical structure. Finest of all is the Manfred Symphony, summarising the best qualities of the set.
A bargain at less than £30, but a treasure at any price.
NEWS - NOVEMBER 2009
KONZERTHAUS BERLIN
12, 13, 14 / 11/ 2009
Konzerthausorchester Berlin
Oleg Caetani
Anton Webern Sechs Stücke für Orchester op. 6
Franz Schubert Sinfonie Nr. 3 D-Dur D 200
Gustav Mahler Sinfonie Nr. 1 D-Dur
Die drei Werke von Webern, Schubert und Mahler sind Werke des Aufbruchs: Franz Schubert schrieb seine Dritte als Teenager für ein Wiener Liebhaberorchester, ein Geniestreich des Jugendlichen. Gustav Mahlers sinfonischer Erstling wurde von den Zeitgenossen verlacht und verspottet, so ungewohnt neu war ihnen seine Tonsprache. Dass Mahler gerade mit dieser Sinfonie auch das Erbe Schuberts antrat, spürten wohl die wenigsten. Anton Webern, der Mahler und Schubert zeitlebens zutiefst verehrte, gehörte zu denen, die anknüpfend an die späte Romantik Mahlers die Tore zur Moderne aufstießen: In den Orchesterstücken op. 6 finden die Erschütterungen einer in Umwälzung begriffenen Welt Widerhall in einer expressionistischen Klanglandschaft.
read more details here
NEWS - NOVEMBER 1, 2009
NEW CD RELEASE
TANSMAN, A. - Symphonies, Vol. 4
Sinfoniettas Nos. 1, 2 /
Symphonie de chambre /
Sinfonia piccola
Orchestra della Svizzera Italiana,
Oleg Caetani
NEWS - OCTOBER 30, 2009
TEATRO COMUNALE DI BOLOGNA - STAGIONE SINFONICA
Teatro Manzoni - 30 ott. 2009 ore 20.30
OLEG CAETANI
direttore
ENRICO DINDO
violoncello
ORCHESTRA DEL TEATRO COMUNALE DI BOLOGNA
programma:
LUCIANO BERIO
Quattro versioni originali della
«Ritirata Notturna di Madrid»
di Boccherini sovrapposte e trascritte per orchestra
ROBERT SCHUMANN
(nel bicentenario della nascita - 1810)
Concerto in La minore op. 129 per violoncello e orchestra
DMITRIJ ŠOSTAKOVIč
Sinfonia n. 5 in Re minore op. 47
NEWS - OCTOBER 2009
TOKYO METROPOLITAN SYMPHONY ORCHESTRA
Sun. 18 October 2009, 14:00Suntory Hall
Conductor:Oleg Caetani
Piano:Michel Dalberto
Nicorai: "Die lustigen Weiber von Windsor" overture
Franck: Variations Symphoniques
R. Strauss: Burleske
Schumann: Symphony No.4 in d minor, op.120
Fri. 23 October 2009, 19:00 Tokyo Bunka Kaikan
Conductor:Oleg Caetani
Piano:Katia Skanavi
Mozart: Symphony No.29 in A major, K.201(186a)
Prokofiev: Piano Concerto No.3 in C major, op.26
Shostakovich: Symphony No.6 in b minor, op.54
read more details here
NEWS - OCTOBER 2009
LAS PALMAS de GRAN CANARIA
Teatro Pérez Galdòs
9, 11 October 2009
RICHARD STRAUSS
Salomé
Tenerife Symphony Orchestra
Music director: Oleg Caetani
Stage director, set designer and costume designer:
Pier Luigi Pizzi
Cast:
Peter Svensson, Graciela Araya, Nicola Beller Carbone,
Egils Silins and Ferdinand von Bothmer
Italy is to treat us to a masterful adaptation of one of the most representative operas of German expressionism. the Reggio Emilia Teatros are to unveil their version of Richard Strauss’ Salomé, with the ever-reliable Pier Luigi Pizzi heading stage direction, set design and wardrobe design.
With Oleg Caetani as conductor, the Tenerife Symphony Orchestra is to interpret the music composed by Strauss towards the start of the twentieth century. As was the case with Oscar Wilde’s play on which the opera is based, Salome had its debut in Dresden in 1905 and immediately attracted fierce criticism from the puritan society at that time, the very same society that would eventually be won over by the opera’s immense artistic and musical vision.
As Strauss saw it, the risqué libretto, coupled with the highly-charged sexuality of the protagonist and the expansion and mutation of the Gospels as a side-line theme, was sublime material for a work to wrap off the century with a bang. Salome unfolds on a moonlit night at the palace. Herod Antipas is so utterly captivated by his niece Salome that he agrees to grant her any wish if she will only dance for him. This leads Salome to perform the famous dance of the seven veils. Her wish, according to the gospels, is the head of John the Baptist.
read more details here
NEWS - SEPTEMBER 2009
XXXIX FESTIVAL DE OPERA DE TENERIFE
Auditorio de Tenerife. Santa Cruz de Tenerife.
17,19 de Septiembre 2009
RICHARD STRAUSS
Salomé, drama musical en un acto
Herodes, Roman Sadnik, tenor
Herodias, Graciela Araya, mezzosoprano
Salome, Nicola Beller Carbone, soprano
Jokanaan, Egils Silins, barítono
Narraboth, Ferdinand von Bothmer, tenor
1º Judío, Santiago Sánchez Jericó, tenor
2º Judío, Lorenzo Moncloa, tenor
3º Judío, Ángel Rodríguez Rivero
4º Judío, Jordi Casanova, tenor
5º Judío, Francisco Santiago, tenor
1º soldado, Alberto Arrabal, baritono
2º soldado, Jaime Esteban, barítono
1º nazareno, Marco Moncloa, barítono
2º nazareno, Pablo Rossi Rodino, tenor
El Paje, Margarita Gritskova, mezzosoprano
Esclava, Eduvigis Sánchez, soprano
Capadocio, Jeroboam Tejera, barítono
Oleg Caetani, director
Pier Luigi Pizzi, director de escena, escenógrafo y figurinista
Giulio Zappa, maestro repetidor
Andrea Bernard, asistente de dirección de escena
Lorena Marin, asistente de figurinista
Serena Rocco, asistente de escenografía
Marco Berriel, coreógrafo
Vincenzo Raponi, reposición de diseño de luces
Producción de I Teatri Reggio Emilia, Italia
Basado en la obra de Oscar Wilde, Salome supone el capítulo más atrevido en la producción de Richard Strauss. Una obra cargada de erotismo y sexualidad, de una capacidad dramática pocas veces igualada en el repertorio.
La historia es bien conocida: Salomé está fascinada por Juan Bautista y su padrastro, Herodes, por ella. La primera le pide a Herodes la cabeza del profeta a cambio de un sensual baile. Al obtenerla, Salomé se deshace en besos hacia ella. Al presenciar la escena, horrorizado, Herodes la manda matar. Un triángulo amoroso no consumado que finaliza en una orgía de sangre y muerte.
El estreno provocó, en 1905, un escándalo mayúsculo. Un siglo más tarde se estrena en Tenerife de la mano de Pier Luigi Pizzi. Es una producción proveniente del Teatro Reggio Emilia -nunca antes representada en España- en la que el director milanés da rienda a su sensibilidad escénica y conceptual. Es, además, una buena ocasión de disfrutar de la Sinfónica de Tenerife en una obra en la que la orquesta tiene un papel determinante.
read more details here
NEWS - 2 SEPTEMBER 2009
Maestro CAETANI was presented with an award conferring the title of GRAND OFFICER of the Order of Merit of the Romanian Government
in the homepage you can
WATCH THE VIDEO OF THE AWARD CEREMONY
recorded during the Inauguration of the
Enescu International Festival in Bucarest
NEWS - MAY 2009
ORCHESTRA SINFONICA SICILIANA -
STAGIONE SINFONICA 2009
May 15, 16
BARTOK: Concerto n.1 per pianoforte e orchestra SZ 83
SCHUBERT: Sinfonia n.9 in do maggiore (“La grande”)
Orchestra Sinfonica Siciliana
Susanna Stefani Caetani, piano
Oleg Caetani, conductorr
read more details here
NEWS - APRIL/ MAY 2009
BASQUE NATIONAL ORCHESTRA - SEASON CONCERTS
April: 27 Donostia A; 28 Pamplona-Iruñea;
29 Donostia B; 30 Vitoria-Gasteiz; May:
1 Bilbao
G. Martucci: Concierto para piano y orquesta nº2
M. Bruch: Sinfonía nº 3
Orchestra Sinfonica di Milano “Giuseppe Verdi”
Simone Pedroni, piano
Oleg Caetani, conductor
Basque National Orchestra Official Website
NEWS - APRIL 2009
ORCHESTRA SINFONICA DI MILANO GIUSEPPE VERDI
Stagione Sinfonica 08/09
April 23, 24, 25; Auditorium di MIlano
LUCIANO BERIO - LUIGI BOCCHERINI
Quattro versioni de La ritirata notturna di Madrid
GIUSEPPE MARTUCCI
Concerto n. 1 in Re minore per pianoforte e orchestra op.40
LUDWIG VAN BEETHOVEN
Sinfonia n.7 in La maggiore op.92
Simone Pedroni, piano
Oleg Caetani, conductor
Orchestra Sinfonica “Giuseppe Verdi” Official Website
NEWS - UPCOMING EVENT!
OLEG CAETANI WILL CONDUCT THE OPENING GALA CONCERT of the "GEORGE ENESCU" INTERNATIONAL FESTIVAL AND COMPETITION OEDIP by George Enescu- Coproduction of the National
Opera from Bucharest and
the Théâtre du Capitole du Toulouse
Sunday, August 30, 2009
Time: 19.00 Bucharest National Opera House
Series "Opera and Ballet"
OEDIPE by George Enescu
Coproduction of the National Opera from Bucharest and the Théâtre du Capitole du Toulouse
Director: NICOLAS JOEL
Sets: EZIO FRIGERIO
Costumes: FRANCE SQUARCIAPINO
Lights: VINICIO CHELI
Conductor: OLEG CAETANI
Conductor of the choir: STELIAN OLARU
Orchestra and Choir of the Bucharest National Opera
Soloists:
Oedipe - FRANCK FERRARI
The great priest - STEFAN SCHULLER
The Shepard - VALENTIN RACOVEANU
Iocasta - OANA ANDRA
Laios - MIHAI LAZAR
Tirésias - HORIA SANDU
Phorbas - POMPEIU HARASTEANU
Mérope - ADRIANA ALEXANDRU
The guardian - MIHNEA LAMATIC
The Sphinx - ECATERINA TUTU
Théseu - GABRIEL NASTASE
Women of Thebe - SIDONIA NICA
Creon - IONUT PASCU
read more here
NEWS - January 23, 2009
Venerdì 23 gennaio 2009, 20.30
Lugano - Auditorio Stelio Molo
Orchestra della Svizzera italiana
Direttore
Oleg Caetani
Solista
Matthias Racz, fagotto
Alexander Tansman
Sinfonietta n.2 , per orchestra da camera
Introduzione e “L’estro armonico”, Scherzetto popolaresco, Adagio quasi intermezzo, Finale romantico
André Jolivet
Concerto per fagotto, orchestra d’archi, arpa e pianoforte
Recitativo, Allegro gioviale, Largo cantabile, Fugato
Charles Gounod
Sinfonia n.2 in mi bemolle maggiore
Adagio – Allegro agitato, Larghetto, Scherzo. Allegro molto, Finale. Allegro leggero assai
more details here
NEWS -JANUARY 2009
NEWS - 15 NOVEMBER 2008
ANAM - CAETANI CONDUCTS
Schubert Rondo for Violin and Strings in A major, D.438
Schoenberg Ode to Napoleon Buonaparte, Op.41
(Text by Lord Byron)
Schoenberg Chamber Symphony No.1, Op.9
Schubert Symphony No.3 in D major, D.200
Rebecca Chan, violin
Gerald English, narrator
Oleg Caetani, conductor
Orchestra of the Academy
Oleg Caetani appears by arrangement
with the Melbourne Symphony Orchestra.
The Melbourne Symphony Orchestra’s Chief Conductor Oleg Caetani directs the Orchestra of the Academy in a performance of Arnold Schoenberg’s searing Ode to Napoleon Buonaparte. Schoenberg was living in California in 1942 when the entry of the USA into the Second World War led him to this setting of Byron’s sarcastic critique of tyrannical power. The Ode is presented with the same composer’s virtuosic Chamber Symphony from thirty years earlier, the two works providing a snapshot of Schoenberg in Vienna and in Hollywood. The program is framed by two exquisite youthful works by Franz Schubert.
NEWS - OCTOBER 2008
HOUSTON GRAND OPERA
Oct 17, 24, 26, 29, Nov 1, 2008
Cavalleria rusticana & Pagliacci - Mascagni & Leoncavallo
Betrayal, jealousy and revenge—the perfect partners for an evening of irresistible theater. A powerhouse cast takes charge: Brandon Jovanovich makes his HGO debut as Cavalleria’s caddish Turiddù, with Dolora Zajick in her signature role as the spurned Santuzza. In Pagliacci, Vladimir Galouzine returns to HGO as the titular clown—the wronged husband whose jealousy escalates to insanity—with HGO Studio alums Ana María Martínez and Scott Hendricks as his unfaithful wife and her paramour. Oleg Caetani conducts in his HGO debut.
More details HERE
NEW RELEASE - SEPTEMBER 2008
Tansman - Symphonies Volume 3
Melbourne Symphony Orchestra
Oleg Caetani
read all the details HERE
NEWS - SEPTEMBER 2008
APN NEWS & MEDIA PREMIER SERIES 2008 CONCERT 8
Thu 4 Sep 2008 8:00pm - Auckland Town Hall THE EDGE®
Auckland Philarmonia Orchestra
Oleg Caetani Conductor
James Ehnes Violin
Tchaikovsky Violin Concerto
Brahms Serenade No. 1
A very special evening that brings conductor Oleg Caetani and internationally acclaimed violinist James Ehnes together for the first time for Tchaikovsky’s Violin Concerto. After the interval we feature Brahms’ Serenade No. 1 – a piece of superb symphonic warmth and lyricism receiving its North Island premiere after 150 years!
More details HERE
NEWS - JULY 2008
Symphonie Fantastique
8pm, Friday 11 & Saturday 12 July, Perth Concert Hall
RAVEL Une barque sur l'océan
SAINT-SAENS Piano Concerto No.2
BERLIOZ Symphonie Fantastique
West Australian Symphony Orchestra
Oleg Caetani, conductor
Simon Trpceski, piano
“A genuine wunderkind, Trpceski is really a marvel: heart-stopping technique, and a sense of exhilaration and zest that keeps listeners near the edge of their seats all evening.” Seattle Times
Oleg Caetani’s memorable exploration of the Romantic orchestral repertoire continues with a performance of Berlioz’s epic masterpiece. French sophistication abounds in a program that includes outstanding pianist Simon Trpceski.
More details HERE
NEW RELEASE - JUNE 2008
MSO Live - Tchaikovsky Symphonies
Melbourne Symphony Orchestra
6 CD set
read all the details HERE
NEWS - JUNE 27, 2008
INAUGURAZIONE PRIMA ESTIVA DELLA "SINFONICA"
Orchestra Sinfonica Siciliana
Oleg Caetani, direttore
Ilya Grubert, violino
Oleg Caetani ritorna sul podio della Sinfonica per il Concerto di Cajkovskij.
Grande ritorno sul podio della Sinfonica - dopo alcuni anni di assenza - per il direttore Oleg Caetani. Venerdì 27 giugno alle ore 21.15, nell’Atrio della Biblioteca Comunale Casa Professa, il direttore stabile e artistico della Melbourne Symphony Orchestra, dirigerà un bel programma con musiche di Ducasse, Cajkovskij e Beethoven.
Read more HERE
NEWS - JUNE 2008
Orchestre National de Lyon
Oleg Caetani conductor
Cherubini,
Requiem en ut mineur pour chœur et grand orchestre
"Concerts maudits? Ils ont été à la mémoire d’Armin Jordan, décédé en septembre 2006, qui devait les diriger. Claus-Peter Flor devait les diriger, mais… souffrant, il a dû être remplacé par Oleg Caetani. Qui semblait quant à lui boiter légèrement!..."
Read more HERE
NEWS - MAY 2008
SPECIAL:
PICTURES FROM THE CONCERT IN VATICANO
24th April 2008 in Vaticano - Aula Paolo VI (Sala Nervi)
Symphonic Orchestra and Symphonic Chorus
“Giuseppe Verdi” of Milano, conducted by Oleg Caetani.
S.S. Benedetto XVI with Maestro Caetani
Symphonic Orchestra and Symphonic Chorus “Giuseppe Verdi”
S.S. Benedetto XVI and
President of Italian Republic Giorgio Napolitano
Maestro Caetani
S.S. Benedetto XVI with Maestro Caetani
NEWS - 02/05/2008 Sydney Morning Herald
SYDNEY SYMPHONY Conducted by OLEG CAETANI
Opera House, April 30 - Reviewed by Peter McCallum
"...And what a performance this was. Working from memory, the conductor Oleg Caetani communicated a clarity of structure and aim while encouraging each player to shape the individual lines with comeliness according to their natural instinct. This happened not only in the woodwind detail, where so much of the colour and individuality of Tchaikovsky's orchestration is built, but in the glorious yet controlled brass sound, and there were radiant moments from the strings. It was disciplined, sophisticated and musical, and a great joy to hear the orchestra play at its best under the guidance of a masterly conception..."
NEWS - APRIL 2008
The President of Italian Republic Giorgio Napolitano presents S.S. Benedetto XVI with a classic concert to celebrate the III anniversary of his pontificate performed by Symphonic Orchestra and Symphonic Chorus “Giuseppe Verdi” of Milano, conducted by Oleg Caetani.
The concert takes place Thursday, 24th April at 5.00 pm in Vaticano Aula Paolo VI (Sala Nervi).
Il 24 Aprile 2008 in Vaticano (Sala Nervi), il Maestro Caetani dirigera' il concerto con l'Orchestra e il Coro della Sinfonica Giuseppe Verdi di Milano offerto dalla Presidenza della Repubblica Italiana Giorgio Napolitano in omaggio a Sua Santita' Benedetto XVI per il terzo anno del Suo Pontificato.
info:
Orchestra Sinfonica di Milano Giuseppe Verdi
NEWS - FEBRUARY 2008
Maestro Caetani celebrates the Jubilee of one of his Orchestras, the Robert Schumann Philharmonie, Chemnitz, where he was Music Director from 1996 through 2001.
07.02.2008
Jubiläumskonzert
der Robert-Schumann-Philharmonie
Béla Bartók Konzert für
Klavier und Orchester Nr.1,
Gustav Mahler Sinfonie Nr. 1 D-Dur
Solisten: Susanna Stefani Caetani - Klavier
Dirigent: Oleg Caetani
info: Robert Schumann Philharmonie
NEWS - JANUARY, 31 - 2008
COMUNICATO STAMPA
"Per la Stagione Sinfonica dell'Orchestra Sinfonica di Milano Giuseppe Verdi, un concerto all’insegna del Romanticismo:
Concerto n.1 in Mi minore
per pianoforte e orchestra op. 11 di Fryderyk Chopin e Manfred,
sinfonia in quattro quadri di Pëtr Il'ič Čajkovskij.
Al pianoforte, il giovane polacco Rafał Blechacz che si è imposto all'attenzione del pubblico e della critica internazionale nel 2005, vincendo il prestigioso concorso Chopin, già attribuito a pianisti quali Maurizio Pollini, Martha Argerich e Krystian Zimerman.
Sul podio, torna a dirigere la Verdi il Maestro Oleg Caetani, grande esperto di musica russa."
prima - 31/01/2008
repliche 1 e 3/02/2008
info e dettagli:
Orchestra Sinfonica di Milano Giuseppe Verdi
NEWS - DECEMBER 2007
