«The encounter with Shostakovich's 13th Symphony in the Herkulessaal became a stirring experience. Under the sovereign, concentrated direction of John Axelrod, the Symphonieorchester des Bayerischen Rundfunks, the BR men’s choir and bassist Mikhail Petrenko devoted themselves to this 1962 opus with great devotion.[…] Barber's streaming string Adagio and Stravinsky's long-lost "funeral song" rounded off the program. Axelrod's precisely directed ensemble took every opportunity to savour Stravinsky's colourful instrumentation almost theatrically. Great applause. » Gabriele Luster, OVB Online 29.06.2018
Read More«... We must begin, necessarily, by John Axelrod: in the prime of life, is one of the largest and most charismatic guest conductors who have gone through the Maestranza. His work with the orchestra was perfect, and ROSS responded flawlessly. […] The huge orchestral strength and intensity of the score always threaten to noise and confusion, but Axelrod got a clarity and definition such that he got that the "superior human Being, man, woman" ("Übermensch" is that, not just "Superman" ) prophesied by Nietzsche, we could listen with all his tenderness and hope. The musicians excited and delivered; the public, overwhelmed with wonder and joy. We don't remember, though we think, no performance at this level of our Orchestra: equal, maybe, but better, ever…» - José Luis López López, ABC de Sevilla
Read More«…The Music Director of the ROSS has once again demonstrated his deep knowledge of the symphonic thinking of the Hamburg composer [Brahms Symphony N. 4] by performing an interpretation in which he has highlighted the enormous chamber music richness of this work, entering with enormous resolution capacity into all its technical and expressive secrets, knowing how to interweave them into his discourse in such a way that he reached a superior dimension of musical recreation. » José Antonio Canton, El Mundo
Read MoreCD Recording: Brahms Beloved for Telarc: The orchestra breathes and sighs to the rise and fall of his (John Axelrod's) baton...quite simply one of the most all-embracing, humane first movements I’ve heard...all in all, a perfect Fourth magnificently led and played by John Axelrod and his Sinfonica di Milano Giuseppe Verdi Orchestra...(and) everything about Axelrod’s Second is perfectly judged and perfectly realized by his outstanding Italian orchestra... I can’t urge you too strongly to acquire this release.» - Jerry Dubins, Fanfare Magazine
Read MoreCD Recording: Brahms Beloved for Telarc: «John Axelrod presents the Brahms Symphonies not at all in the style we have been used to hear them recently, with just straightforward, forceful playing. He allows his musicians to breath, to enrich the music with lovely colors, deep lyricism and some particularly interesting contrasts. That said, this rather unusual Brahms is unusually coupled with 10 beautiful Clara Schumann songs, ravishingly sung by Nicole Cabell and Indra Thomas.» - Rémy Franck, Pizzicato
Read MoreLübecker Philharmoniker, MUK, 2022- Liszt Les Préludes: Under the direction of the American star conductor John Axelrod. …John Axelrod's conducting is so committed and detailed that watching alone is a real pleasure. This sympathetic conductor consistently maintains the most intensive contact with the orchestra or the soloists and instrument groups, his friendly and inspiring smile is reflected in that of the musicians….With his use of his body shows how he is completely absorbed in the music, sometimes caresses it, even tastes or smells it, when he seems to savor the notes with his hand very close to his face. This jumps over to the orchestra and some not quite flawless entries are completely to be gotten over, because all let themselves be carried away by this lovable, turned conducting. - Dr. Andreas Ströbl, 20. Dezember 2022, für klassik-begeistert.de und klassik-begeistert.at
Read More“Although the Finale, with its virtuosic double-stopping and the taut springiness of the rhythms added to the scampering sense of fun, it was the central Romance which impressed me most of all. The solo line was always well integrated in the overall orchestral sound, never drawing unnecessary attention to itself, and in the many high-lying passages Sitkovetsky seemed to be floating into the stratosphere, his intensely singing quality recalling the composer’s assertion that this work was contemplated for a Caruso of the violin rather than for a Paganini.”
Bachtrack (Alexander Hall), October 2022 (Concert Review for ‘From Moravia with love’: the Brno Philharmonic at Cadogan Hall)
Read More“Daniel is a passionate and engaging conductor with a strong vision and musical personality. Danielhas the innate ability to draw enthusiasm out of the musicians he works with as he is a borncommunicator. Every project with Daniel is a great joy’
Laure Chan, violinist
Read More“Daniel Hogan is without doubt one of the finest conductors of his generation. His performances of my 3rd and 4th symphonies were exemplary, clearly revealing a musician of real stature, depth of knowledge, insight and understanding. But of equal importance are the levels of respect and affection which he commands from orchestral musicians of all ages, remarkable and, I feel, almost unprecedented for a conductor still in his twenties. This is because players sense that they are working with a musician of sincerity, integrity and a maturity well beyond his years”
Matthew Taylor, Composer
Read More“Mr. Hogan drew some really soul-stirring sounds from the players… and his energetic style of conducting was clearly much appreciated by the orchestra. No one has replaced the late Richard Hickox as a champion of British music but on this showing, perhaps in a few years, Mr. Hogan may take his place.”
British Music Society, (Paul Jackson) 2021
Read More“… the sparer forces found a more concentrated wiry intensity in the music, spurred on by remarkably crisp conducting from Dionysis Grammenos, who excelled in focusing the rhythmic energies of the score. Seldom in London has that treacherous opening downbeat, with its wafer-thin semiquaver rest, burst forth with such control and promise. Grammenos has thrown a gauntlet down to the other major pit orchestras in London who frequently revive this bread-and-butter work.”
OperaWire (Benjamin Poore) 2022
Read More“This is one of the best Bohèmes I have heard in recent years… Anyone who has heard Beecham or Karajan’s recordings of Bohème will know that, like all great opera, the starting point is an exceptional conductor. Here we get one with Dionysis Grammenos, whose command of Puccini’s idiom is impressive.”
The Daily Mail (David Mellor), 2022
“In the pit, conductor Dionysis Grammenos draws animated, richly coloured playing from the 27- strong orchestra, providing plenty of Puccinian perfume and punch, but a welcome clarity and freshness too.”
The Stage (Claire Seymour), 2022
“Puccini’s way of sweeping the listener straight up with youthful high spirits, wistfulness and the bustle of Bohemian Paris can render much else redundant. Dionysis Grammenos’ firm and flexible conducting establishes that clear enough.”
The Telegraph (John Allison), 2022
“Under conductor Dionysis Grammenos the orchestra achieves a pleasing transparency while not skimping on the occasional blatancy that Puccini demands.”
Evening Standard (Nick Kimberley), 2022
“[her] flawless tone and virtuoso technique shone. She can play piano and the accompanying musicians follow her.”
Saarbrücker Zeitung, March 2020
Read More“This was a concert taken over last minute by the Bulgarian conductor Rossen Gergov, who replaced the indisposed Robin Ticciati with complete assurance and individuality. His readings of the Dvořák dances were subtle and dynamic, fuelled by an innate understanding of the music’s folk-infused rhythms and its fizzing, fragrant colours.”
The Scotsman (Ken Walton)
Read More“The conductor drew a performance brimming with vitality… [The] orchestra made a huge contribution to the vivacity and atmosphere of the performance under the baton of Rossen Gergov who displayed an instinctive feeling for Offenbach’s score.”
Opera (Margaret Davies)
Read More“Rossen Gergov adopted a sensible tempo, offering articulated phrasing in his fresh and vibrant version of Schubert’s Tragic Symphony”
La Nueva España
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