NEWS - May 2014

Oleg Caetani interview
By Andrew Clark
The conductor is about to make a belated Covent Garden debut with Puccini’s ‘Tosca’

In the mid-1950s Igor Markevitch came to London to conduct at Covent Garden. The distinguished Ukrainian-born composer, conductor and Diaghilev-associate struck up a friendship with the late George Harewood, the Queen’s cousin, who was on the staff there and would later become one of the most influential figures in British opera. The strength of the friendship was such that, when Markevitch’s son Oleg was born in 1956, Lord Harewood became godfather.

Fast forward to the present, and Oleg Caetani, now 57 (his surname comes from his Italian mother), is about to make his debut at Covent Garden, conducting Puccini’s Tosca. Markevitch would have been proud. So would Harewood, who lived to see Caetani make his UK debut at English National Opera in 2003. Caetani made such an impact at ENO, conducting Mussorgsky’s Khovanshchina, that he was invited to become music director – an appointment that, due to turmoil within the company at the time, was rescinded before he could take it up.

Given such poor treatment by the ENO board, most conductors would have turned their back on London. But Caetani has a sentimental attachment to the UK, based on happy childhood holidays in Brighton. In each of the past two seasons he has returned to ENO to guest-conduct Puccini – first Madam Butterfly, then La bohème . Those performances, the fruit of a career that has taken him from St Petersburg to San Francisco, had the same inspirational effect as Khovanshchina. The Royal Opera took note, and Tosca, with a cast including Roberto Alagna, is the result.

The question is not why it has taken so long for Caetani to follow in his father’s footsteps at the UK’s leading opera house but how, given his obvious talent and vast experience, he has not had a higher-profile career. Caetani himself gives an enigmatic reply. Referring to Bright Star, Jane Campion’s 2009 film about John Keats, he recounts the scene in which the poet, lying on his deathbed, is told some of the wonderful things that have been said about him and his work.

“He asks in a very naive way: ‘Is that a success?’, as if to say it doesn’t mean anything to him. Well, I am not Keats, but I have got a lot back from my work,” says Florence-based Caetani, who studied as a teenager with the legendary Nadia Boulanger in Paris, and later with leading Shostakovich interpreter Kirill Kondrashin in Soviet-era Moscow.

“It is important for an artist to evaluate the beautiful things he has. I love working in Japan. I love working in London. When things happen, I enjoy them enormously, and I also enjoy them [in recollection] for the experience they gave me. So I can’t say it is a tragedy that I didn’t conduct the leading orchestras of Berlin, Chicago and Boston. If I had a bad relationship with my wife or children, that would be a tragedy.”

Philosophy apart, there are good reasons why Caetani has escaped the limelight. He has never believed in career-building, preferring to work in congenial surroundings rather than targeting ensembles that would improve his visibility. He has no agent – a state of affairs that most colleagues would regard as professional suicide. Instead he channels the business side of his life through his Italian wife Susanna, a former concert pianist.

“I see my job as a luxury,” he says. “When I hear that I should make this or that move, or conduct an orchestra or piece of music I don’t like, in order to reach the next point in the strategy, it means nothing to me. Agents need to represent many artists, and you become part of a big mechanism. I don’t believe I would have got Tosca at Covent Garden if I had had an agent.”

The same might be said of his next two engagements. In July Caetani will return to Russia at the head of a new youth orchestra made up equally of west European and Russian musicians, with piano virtuoso Daniil Trifonov as soloist. The tour will take in Ekaterinburg and neighbouring cities in the Urals – “an idea born before the latest political situation [in Ukraine], but we hope it will bring a message of peace like [Daniel Barenboim’s] West-East Divan Orchestra.”

Then, at the Norwegian National Opera in September, Caetani will fulfil a long-cherished wish to conduct Shostakovich’s Lady Macbeth of Mtsensk.

In many ways he is an old-school conductor, neither dictator nor democrat. He says a good relationship with an orchestra depends on the conductor’s authority, “and that comes exclusively from convincing them [of your viewpoint]. The best way is to show you have the work in your mind, your blood and your hands.”

But how does that work out in practice? “It seems a banality,” he replies, “but the communication of a real conductor must begin with the gesture, and only then by explaining. Explaining is important, but some things cannot be explained. Being able to show them creates more intimacy with the orchestra and more mystery in the projection to the public. Explaining everything puts a limit on the variety of expression. If I show it and they follow, we all do the same thing, but each member of the orchestra understands it in their own way. It blossoms better than if I have explained it.”

Nevertheless, some explaining has been inevitable during rehearsals for Tosca. Caetani believes certain traditions have grown up in Puccini that directly contravene the indications in the score. “He is as precise and busy in his indications as Mahler: it’s incredible how much he writes about tempo changes. But with Puccini, like Tchaikovsky, conductors feel free to ignore his indications, under the excuse this is music one has to ‘feel’.

“I often had problems with those two composers in German opera houses [where Caetani spent his early career] by trying to respect exactly what was written. I was accused of taking away the musicians’ freedom and being cold. My experiences in London suggest people here are more open.”

‘Tosca’ opens on May 10,

NEWS - December 2013

NEWS - June 2013 - ROYAL OPERA HOUSE  Conductor Change: Oleg Caetani to conduct Tosca in 2014

Italian conductor replaces Teodor Currentzis
from 10 May – 3 June 2014

Greek-born conductor Teodor Currentzis has withdrawn from conducting performances ofTosca in May 2014. The performances will now be conducted by Italian conductor Oleg Caetani, marking his conducting debut with The Royal Opera.

Oleg’s recent performances have included La bohème for ENO, Madama Butterfly in Berlin and for ENO, Don Carlos and La Voix humaine in Cologne and Oedipe in Bucharest. He regularly conducts Staatskapelle Dresden, the Orchestra of the Maggio Musicale Fiorentino, the Munich Philharmonic, Symphonieorchester des Bayerischen Rundfunks, Gewandhausorchester in Leipzig, Wiener Symphoniker, Orchestre National de Radio Franceand RAI National Symphonic Orchestra.

His future engagements include Lady Macbeth of Mtsensk for Norwegian National Opera, as well as concerts with the Hong Kong Philharmonic, Metropolitan Orchestra Tokyo, Sydney Symphony Orchestra and St Petersburg Philharmonic.

Read more details HERE

NEWS - April, May 2013
ENGLISH NATIONAL OPERA - La bohème - Puccini

Co-produced by ENO and Cincinnati Opera

Conductor Oleg Caetani (29 April – 14 May ), Alexander Ingram (16 May – 29 June), Original Director Jonathan Miller, Revival Director Natascha Metherell, Designer Isabella Bywater, Original Lighting Designer Jean Kalman, Translator Amanda Holden
Cast includes: Rodolfo Gwyn Hughes Jones, Mimì Kate Valentine, Marcello Richard Burkhard, Musetta Angel Blue, Colline Andrew Craig Brown, Schaunard Duncan Rock, Benoît and Alcindoro Simon Butteriss

Puccini’s La bohème is one of the most popular and captivating operas of all-time. With its emotionally charged story of Mimi and Rodolfo’s fleeting love affair and some of the great Italian composer’s most ravishingly beautiful music, it never fails to move and enchant. 
"An evening I wouldn’t hesitate to recommend to any newcomer who wants to know what opera is all about" Mail on Sunday. Read more details here

NEWS - press review: ENO, La bohème  

",,,The ENO orchestra is terrific, too, producing detailed yet passionate playing forOleg Caetani. This is one of the best Bohèmes to be heard in London in recent years."

"...This time round it’s also conducted with passion and urgency, rather than by someone who missed his vocation driving streamrollers. The man in charge now is Oleg Caetani who, in 2005, was ENO’s music director-elect... If nothing else he clearly knows his Puccini inside out.…the playing had exceptional colour, variety and fluidity. And the fizzing pace of the opening scene, though it played havoc with the cast’s diction, did a lot to bring the whole show to life..."
The Times 1 May 2013 La Bohème by Richard Morrison

5 stars 
"…In this revival, conductor Oleg Caetani’s lightness of touch allows the orchestra to bring out the playful, often poignant, ‘youthfulness’ and romance inherent in Puccini’s score beautifully. The orchestra’s performance is at all times nuanced, lively and responsive, combining with the exceptional vocal talent on stage to create an enrapturing musical event…"

"…Oleg Caetani retained firm control over a reading of the score that was driven and passionate. The orchestra was on superb form, playing faultlessly and with fire; though it frequently took off with abandon to shape the more lyrical passages of Puccini’s score, it never overwhelmed the principals but brought charge to a continually thrilling performance. The ENO Chorus was on good form throughout, the well-choreographed Café Momus scene as full of life as one would expect…" 

4 stars 
"...The sentimentality evinced from both orchestra and cast is minimal, thanks to Oleg Caetani’s swift tempi, but in this they avoid any sick-bucket clichés and allow the drama of Puccini’s glorious score to work its magic organically. The orchestral dynamic just managed to swamp the singers once or twice, but the balance was largely excellent…" 

"...Oleg Caetani made a very welcome return to the Coliseum. His direction of the ENO Orchestra was splendid, rich in tone...but above all, dramatically alert. Temptations to linger, to sentimentalise, were eschewed, without draining the drama of its lifeblood. Wagnerisms – I noticed some especially Tristan-esque progressions – and modernisms were not necessarily underlined, yet, given Caetani’s ear for balance and line, caught one’s ear nevertheless. I should love one day to hear a properly modernistic Bohème – or Tosca. This was not it, but refusal to play to the gallery, and underlining of solid, yet certainly not stolid, musical virtues proved a great relief for a work in which superficial gloss can all too readily hold sway." 

"...Perhaps it needed an experienced Italian conductor like Oleg Caetani (who was once going to be ENO’s music director) to make Puccini’s already colourful score even more vibrant and nuanced. With the orchestra sounding on top form, Caetani seemed to have an instinctive ear for pace and their account was well-shaped and atmospheric with thankfully little by way of cloying sentimentality. The chorus and the children were excellent in their brief appearance..." 

"Capping all this was Oleg Caetani’s well-paced, libretto-sensitive conducting, the ENO Orchestra’s nuanced, highly responsive playing and the ENO Chorus’s strong presence in Act Two. In three words: Don’t Miss It."

"La bohème, English National Opera- A Bohème of rare musical excellence that will please cynics and softies alike 
….Thanks to Oleg Caetani in the pit speeds are defiantly swift, lending an urgency and matter-of-factness to proceedings that cuts nicely against any lingering sentimentalism there might be about the opera. His surging, warmly enthusiastic orchestra (occasionally just a touch too dominant) carries us along through romance and tragedy almost before we’re ready for it – an approach that might not fly with the self-indulgent big-names up at Covent Garden, but works a treat here with a young cast (two major role debuts among them)…"

"...Oleg Caetani conducts the music with "passion and urgency", says Richard Morrison in The Times. The orchestra plays with exceptional colour and fluidity and the fizzing pace of the opening scene helps brings the whole show to life…" 

"...On this occasion, the cast and the orchestra, subtly conducted by Oleg Caetani, have done him proud..."

"...The ENO Orchestra is terrific, too, producing detailed but passionate evolving Oleg Caetani. It is one of the best Bohemian to be heard in London in recent years..." 

"...Oleg Caetani conducted with masterful style last night, full of engine, pulling us effortlessly into the action and steaming on through with no time to pause, it was on occasion slightly overbearing but his relentless pace made the evening fly by and gave a really feeling of emotional urgency to the story. I was impressed with the orchestra last night, they gave their all..." 

NEWS - June 2012


BRAHMS Piano Concerto No.2
6-9 June 2012, Sydney Opera House Concert Hall

Oleg Caetani conductor
Philippe Bianconi piano

Music and sport don't really mix, but if you had to pick a piano concerto for the Olympics it might well be Brahms's Second Piano Concerto. It's huge in scale and character - full of confidence and power -  and in this concert French pianist Philippe Bianconi will be tackling a solo part that's one of the most challenging in the repertoire.

1930s Soviet Russia was no comfortable place to be - Shostakovich kept a suitcase packed in case he was arrested in the night. Fear and anguish kept company with the optimism of propaganda, and both emerge in Shostakovich's Sixth Symphony. Its emotional heart is the tragic first movement; then the symphony adopts a mask of thrilling energy for its race to the finish.

Read more details here

NEWS - May 2012

English National Opera, Madam Butterfly
PRESS REVIEW - extracts

The Times 10 May 2012
Madam Butterfly
***** 5 stars
Hillary Finch
"... sensitive and perceptive conducting of Oleg Caetani... for the first time perhaps we hear this image living
in the orchestra too… incomparable... unmissable…"

Evening Standard 9 May 2012
"Under conductor Oleg Caetani......there is a sure sense of drama..".

Opera Britannia 9 May 2012
"Caetani, returning to the Coliseum... since Sir John in Love in 2006 (revival please!), drew some... impressive playing from the ENO Orchestra, especially in the emotional outbursts from the pit... Let’s hope it’s not another six years before Caetani is back".

Musical criticism 12 May 2012
"One wishes... Oleg Caetani to conduct more opera: his tempi are superb and perfectly selected for our modern tastes ( expansive Puccini ), whilst his focus on the atmospheric episodes of the score evoke compelling images of Western industrialism and arrogance of the rampage..."

See and Heard International 9 May 2012
"There was plenty of emotion... in the pit from Oleg Caetani ... his reading was rich in detail that verged on ‘symphonic’ at times and it had an overall potent dramatic arc.

Backtrack 9 May 2012
**** 4 stars
"The orchestra sounded strong, with the brass especially effective, under the baton of longtime ENO associate Oleg Caetani... the soft orchestral colouring of the Humming Chorus was a triumph... overall this was a strong musical performance..."

The Stage 9 May 2012
"... Conductor Oleg Caetani maintains a lively pace, evoking vibrant, plush sounds from an ENO orchestra on terrific form..."

WhatsOnStage 8 May 2012
"...In the pit the Oleg Caetani conducts a thrilling account of the work..."


NEWS - May 2012

by Andrew Clark

Download and READ the interview HERE

Caetani returns to ENO to conduct Madam Butterfly this month - Andrew Clark

No, says Oleg Caetani, he does not feel he suffered an injustice in the fact or manner of his removal as music director-designate of English National Opera in December 2005, barely ten months after the appointment had been made. And yes, he is delighted to be back at the Coliseum to conduct Madam Butterfly. ‘ENO did everything to please me,’ he says of this month’s revival, ‘granting me the cast I wanted and the right quantity of rehearsals. I love this orchestra and chorus. They are very special.’

Given the way Martin Smith’s board of directors treated him in 2005, most conductors would have vowed never to return. Caetani took no umbrage and moved on. As many opera houses and orchestras around the world have discovered, he is a law unto himself, which has its good side—manifested in his ‘no-hard-feelings’ regard for the company with which he made his UK debut. As his two ENO appearances, Khovanshchina (2003) and Sir John in Love (2006), demonstrated, Caetani is one of the finest theatre conductors today, with a flawless technique, an eclectic repertoire (65 operas) and a quality of musicianship that, at its graceful and expressive best, raises the spectre of Carlos Kleiber. As ENO music director, he would have been a massive gain for London.

But like Kleiber, Caetani has paid a price for his gifts. He shows no interest in a conventional career and has been known to make artistic demands that suggest unrealistic expectations. That is probably why in 2009 he abruptly parted company with the Melbourne Symphony Orchestra, of which he was chief conductor, just as it was about to release an excellent cycle of Tchaikovsky symphony recordings they had made together. It may also explain why Caetani regularly works in the Far East but has no American engagements. Prior to this month’s Butterfly, he had not conducted any opera for a year, and he has no other plans for theatre work in the foreseeable future. By most standards of evaluation, that must rank as a tragedy.

Perhaps Caetani’s standards are too high for the rough-and-tumble of everyday musical life. Perhaps he has been badly advised. He has no agent, preferring to channel the business side of his life through his Italian wife, Susanna, a former concert pianist. The most likely explanation for Caetani’s hit-and-miss career is that he lacks the burning ambition to conduct the sort of top-notch, career-defining ensembles that his talents would justify.

Asked to explain himself, he refers to Bright Star, Jane Campion’s 2009 film about John Keats, in which the poet, lying on his deathbed, is told some of the wonderful things that have been written about him and his work. ‘And he asks in a very naïve way: “Is that a success?”, as if to say it doesn’t mean anything to him,’ says Caetani, 55. ‘Well, I am not Keats, but I have got a lot back from my work. The fact that I have not had more does not make me sad. It is important for an artist to evaluate the beautiful things he has. I love working in Japan. I love working at ENO. When things happen, I enjoy them enormously, and I also enjoy them afterwards [in recollection] for the experience they gave me. So I can’t say it is a tragedy that I didn’t conduct the leading orchestras of Berlin, Chicago and Boston. If it comes, it comes. If it doesn’t, it doesn’t. Music gives you so much. If I had a bad relationship with my wife or children, that would be a tragedy.’

Caetani, who lives in Florence with his wife and seven-year-old daughter (he has two older daughters by a previous marriage), was born in the Swiss city of Lausanne on 5 October 1956. His father was the Russian-born conductor, composer and teacher Igor Markevitch (1912-83), who grew up in Paris, worked with Serge Diaghilev, Leonid Massine and Serge Lifar in the late 1920s and early 1930s, and later counted Wolfgang Sawallisch and Alexander Gibson among his conducting pupils. Caetani’s mother (Markevitch’s second wife) was Donna Topazia Caetani, a Florentine with whom Markevitch had settled in Switzerland, and who had family connections in Brighton—the source of Caetani’s lifelong love affair with England. At the age of five, when his parents departed on a long tour, he was sent to the Brighton family for three months. Several subsequent summers were spent there—‘among the happiest times of my life. That’s when I learned to speak English.’

French is his mother tongue, but he is equally fluent in Italian, Russian and German—all of which cultures played an important part in his education and the development of his repertoire. By his own admission Caetani’s boyhood was a ‘gypsy life’. He grew up in the Swiss Alpine resort of Villars. When Donna Topazia separated from Markevitch and moved back to Lausanne, the ten-year old Caetani was sent to boarding school in the Pyrenees. Then, from the age of 15, he attended school in Nice. At 18 he knew he wanted to dedicate his life to music.

His sense of mission is hardly surprising. He had started composing as a child and at the age of nine was introduced to the legendary Nadia Boulanger, one of his father’s Parisian associates, ‘who believed immediately in my talent and insisted I must study music. My parents didn’t want me at that stage to immerse myself in music, so I did my baccalauréat, but every summer I studied with Boulanger at Fontainebleau, where she had an American Academy—huge rooms filled with pianos. All my musical impulses came from her: she took care of me and had a great impact.’

Boulanger is best remembered as a teacher of distinguished composers, Aaron Copland and Elliott Carter among them, but Caetani saw her as having the personality of a conductor. ‘She was like a female [Yevgeny] Mravinsky [the long-serving conductor of the Leningrad Philharmonic and close Shostakovich collaborator]. She had a great feeling for tempo. At her famous Wednesday lessons at home, if a pianist played anything in a tempo she didn’t feel was on the spot, she would conduct him with such a clear gesture. It was she who gave me an artistic ethic—the seriousness and freedom I have today. It was her whole approach: she knew the academic foundation was extremely important, but at the same time she knew music had to be free. She would ask, “What do you want to do today—a lesson in harmony on septachords? Or do you want us to listen to Stravinsky’s Mass?” We’d listen, and she would explain it and then she’d say, “Read it and play it on the piano for me.” It was a struggle, and with huge patience she would wait till I finished. She taught me to enjoy music but to work hard on it too—both together. She was a loving person, not as strict as her “Madamoiselle” reputation would suggest, and very open—she was fascinated by Boulez, Stockhausen and Xenakis.’

Mention of Boulanger’s ‘artistic ethic’ brings Caetani back to the question of career-building, a concept in which he clearly has no faith or interest. ‘I see my job as a luxury. I don’t believe I should have to make sacrifices for the sake of a career, but I do believe I have to enjoy my music and work hard on it. So when I hear that I should make this or that move in my career, or conduct an orchestra or a work I don’t like, in order to reach the next point in the strategy, it means nothing to me.’

Small wonder that leading artists’ agents shrug their shoulders when you mention Caetani’s name. But—getting back to the things that make him tick—what of his father’s influence? Thanks partly to a busy international career, Markevitch had minimal contact with his son and showed little interest in his musical progress until, aged 13, Caetani visited one of Markevitch’s masterclasses at Monte-Carlo. ‘I was following with a pocket score and on one occasion I asked him if I could conduct. It was the first movement of the Eroica. I don’t think I ever saw him so happy. From that moment he started to help me and became a wonderful teacher. He said I should have contact with other teachers and he supported my interest in repertoire other than his own—he was not at all like a guru. He developed my memory by getting me to conduct without a score.'



NEWS - May 2012

English National Opera
Madam Butterfly

Revival supported by American Friends of ENO
Original production supported by Lord and Lady Laidlaw

Conductor Oleg Caetani
Original Director
 Anthony Minghella
Original Associate Director & Choreographer Carolyn Choa
Revival Director
 Sarah Tipple
Set Designer Michael Levine
Costume Designer
 Han Feng
Lighting Designer Peter Mumford
Revival Choreographer Anita Griffin

May 8, 10, 17, 19, 24, 28, 30, at 7.30pm | May 26 at 6.30pm | May 13 & June 2 at 3pm

more info

NEWS - November 2011

Konzerthaus Orchester Berlin

NEWS - November 2011

Orchestra Nazionale della rai


NEWS - February 2011
Maggio Musicale Fiorentino

Oleg Caetani

Felix Mendelssohn
Die erste Walpurgisnacht,
ballata op. 60
per coro e orchestra

Pëtr Il'ič Čajkovskij
Sinfonia in si minore op. 58

Orchestra e Coro del
Maggio Musicale Fiorentino
Venerdì 25 febbraio 2011, ore 20:30


NEWS - February 2011
Euskadi Orchestrta

5 Vitoria-Gasteiz
7 Donostia-San Sebastián
8 Pamplona-Iruñea
9 Bilbao
10 Donostia-San Sebastián

Elogio de la forma

Renovada sin cesar desde la revolucionaria aportación beethoveniana, la tradicional estructura sinfónica conserva en nuestros días plena vigencia, como confirma el estreno absoluto de la Kindly Symphony del durangués Egiguren, compuesta por encargo de la Orquesta de Euskadi. Si en su Segunda Sinfonía el aún adolescente Schubert conserva los esquemas del clasismo vienés, ya en el ocaso de su vida el belga Franck sintetiza en su única sinfonía -"severa máquina simétrica" en palabras de Marnat- el ideal de forma cíclica que crearía escuela entre sus seguidores Chausson, Ropartz, Magnard y Dukas.

F. Schubert: Sinfonía nº2 en si bemol mayor, D 125 [29']
J. Egiguren: Kindly Symphony [20'] (estreno absoluto, encargo OSE)
C. Franck: Sinfonía en re menor


NEWS - January 2011
NSO Taiwan


NEWS - January 2011
Teatro dell'Opera di Cagliari

NEWS - December 2010
Orchestre Symphonique de Moulhouse

Concert symphonique
Vendredi 10 et Samedi 11 Décembre 2010
20h30 / La Filature Mulhouse

Oleg Caetani direction
Gautier Capuçon violoncelle

GOUNOD Symphonie n° 1, en ré majeur
CHOSTAKOVITCH Concerto n° 1 pour violoncelle, en mi bémol majeur, op. 107
BORODINE Symphonie n° 2 « Epique », en si mineur, op. 5

NEWS - December 2010
Hong Kong Philharmonic

Hong Kong Cultural Centre Concert Hall
The Merry Wives of Windsor: Overture
Concerto for two pianos in E
Symphony No. 5

Not many symphonies have held the life of a composer so delicately in the balance as Shostakovich’s Fifth, but it was written to appease Stalin after Shostakovich had incurred his extreme displeasure. Did he succeed? It now ranks as one of the great classics of the 20th century, so that should be an answer enough. Mendelssohn never lived under such pressures; his comfortable life and untroubled existence seep out of every bar of the delightful concerto he composed for himself and his sister to perform alongside each other. In this concert modernday siblings bring familial intimacy to the Concerto, while Oleg Caetani, pupil of the legendary Kirill Kondrashin, stirs up all the latent tensions in Shostakovich’s most famous symphony.

NEWS - November 2010
Orchestra Sinfonica de la Galicia

En el bicentenario del nacimiento de Schumann (I)

Sinfonía nº 3, «Renana»
Sinfonía nº 4 (Primera versión, 1841) [Primera vez por la OSG]

5 de noviembre de 2010

Orquesta Sinfónica de Galicia
Oleg Caetani, director

Cuando en 2005, el suizo (de origen ruso e italiano) Oleg Caetani tomó las riendas de la Orquestra Sinfónica de Melbourne como director titular y artístico, ya manifestó su profunda pasión por la música de Robert Schumann, en parte derivada por la energía de la evocación musical de la región del Rin que pone de manifiesto en su Sinfonía nº 3, en mi bemol mayor, op. 97, Renana, escrita en 1850 y estrenada un año más tarde en Düsseldorf, bajo la dirección del propio compositor. No en vano, ésta es posiblemente la más brillante y optimista de las obras sinfónicas de un Schumann empeñado en lograr una amplia aceptación por parte del público. Así lo apunta su biógrafo, Wilhelm von Wasielewski, para explicar el porqué del dominio de los elementos populares, de carácter prácticamente folklórico, que predominan (cuando no directamente, dominan) la obra.
Completa el programa la primera versión de 1841 de la Sinfonía nº 4, en re menor, que el mismo Robert Schumann revisó profusamente en 1851, siendo esta última la versión que finalmente se publicó

NEWS - October 2010
Brabants Orchestra
'Italiaanse' werken hebben hun charme

Isabelle van Keulen prachtig op de altviool
De enige overeenkomst tussen de vierde symfonie van Mendelssohn en de symfonie voor altviool en orkest van Berlioz is de inspiratiebron. Voor beide werken was dat Italië. Hoewel de twee werken slechts een jaar na elkaar zijn geschreven, in respectievelijk 1833 en 1834, laten ze een wereld van verschil horen; Mendelssohn koos in zijn Italiaanse symfonie voor de klassieke traditie, voor orde en regelmaat, Berlioz toonde zich in Harald en Italie een muzikale ondernemer die nieuwe paden betrad en risico's niet schuwde. Indertijd zal dat verschil voor vóór- en tegenstanders hebben gezorgd, anno 2010 horen we twee mooie werken die elk hun charme hebben. Mendelssohns charme ligt in de vriendelijke, opgewekte lyriek, die bij Het Brabants Orkest plezierig en onderhoudend spel opriep. Heel precies werd er niet gespeeld, dirigent Oleg Caetani hield vooral de grote lijn in het oog en liet de musici een heel eind hun eigen gang gaan. Harald uit Harald en Italie is een romanfiguur van Lord Byron, die met een hoofd vol melancholie door Italië dwaalt. Berlioz verbeeldt hem in de altvioolsolo. Die solo werd prachtig gespeeld door violiste Isabelle van Keulen, die op dat instrument veel beter tot haar recht komt dan op de viool. Haar spel is voor de relatief kwetsbare viool nog wel eens te gespierd, op de altviool,
die om meer speelkracht vraagt en meer kan hebben, was die robuustheid juist mooi. Ze speelde fantasievol, puntgaaf en expressief. Samen met het orkest maakte ze van Haralds belevenissen een spannend avontuur. Harald en Italie is een baanbrekend werk. De verwarrende ritmes, de spannende instrumentatie en de verrassende dynamiek dagen uit en houden orkest én luisteraar alert.

Het Brabants Orkest o.l.v. Oleg Caetani en met altvioliste Isabelle van Keulen in werken van Mendelssohn en Berlioz. Gehoord: 29-10-2010 in Concertzaal Tilburg.

Door Marjolijn Sengers voor Het Eindhovens Dagblad


NEWS - September 2010
Orchestre Philharmonique de Nice'


NEWS - JUNE 2010
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

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....

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

.......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


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.
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


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

FINANCIAL TIMES - Classical music

Tchaikovsky: Complete Symphonies
By Andrew Clark
Published: December 12 2009
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.


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


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 Manzoni - 30 ott. 2009 ore 20.30



Quattro versioni originali della
«Ritirata Notturna di Madrid»
di Boccherini sovrapposte e trascritte per orchestra
(nel bicentenario della nascita - 1810)
Concerto in La minore op. 129 per violoncello e orchestra
Sinfonia n. 5 in Re minore op. 47


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


Teatro Pérez Galdòs
9, 11 October 2009

Tenerife Symphony Orchestra
Music director: Oleg Caetani
Stage director, set designer and costume designer:
Pier Luigi Pizzi
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


Auditorio de Tenerife. Santa Cruz de Tenerife.


17,19 de Septiembre 2009
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


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
recorded during the Inauguration of the
Enescu International Festival in Bucarest


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


Stagione Sinfonica 08/09
April 23, 24, 25; Auditorium di MIlano
Quattro versioni de La ritirata notturna di Madrid
Concerto n. 1 in Re minore per pianoforte e orchestra op.40
Sinfonia n.7 in La maggiore op.92

Simone Pedroni, piano
Oleg Caetani, conductor

Orchestra Sinfonica “Giuseppe Verdi” Official Website

NEWS - January 23, 2009

Venerdì 23 gennaio 2009, 20.30
Lugano - Auditorio Stelio Molo

Orchestra della Svizzera italiana
Oleg Caetani
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



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.


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


Tansman - Symphonies Volume 3

Melbourne Symphony Orchestra
Oleg Caetani

read all the 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


MSO Live - Tchaikovsky Symphonies
Melbourne Symphony Orchestra
6 CD set

read all the details HERE

NEWS - JUNE 2008

Orchestre National de Lyon
Oleg Caetani conductor

Requiem en ut mineur pour chœur et grand orchestre

Read more HERE

NEWS - 02/05/2008 Sydney Morning Herald

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 - MAY 2008
24th April 2008 in Vaticano - Aula Paolo VI (Sala Nervi)
Symphonic Orchestra and Symphonic Chorus
“Giuseppe Verdi” of Milano, conducted by Oleg Caetani.

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S.S. Benedetto XVI with Maestro Caetani

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Symphonic Orchestra and Symphonic Chorus “Giuseppe Verdi”

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S.S. Benedetto XVI and
President of Italian Republic Giorgio Napolitano

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Maestro Caetani

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S.S. Benedetto XVI with Maestro Caetani

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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.

Orchestra Sinfonica di Milano Giuseppe Verdi


Oleg Caetani