Thomas Gabrisch on classical music in Cuba and the CD with music composed and performed by Joaquin Clerch. [LINK www.opernnetz.de]
The playing of the orchestra is immaculate, conductor Thomas Gabrisch clearly has a secure and sympathetic understanding of both concertos, and the recording quality is of the highest order.
Musicweb International Classical Reviews
Throughout Clerch, the Havana Chamber Orchestra and Thomas Gabrisch distinguish themselves and provide great entertainment.
SA-CD.net, 20.August 2012
Het zwoel musicerende Orquestra de Camara de la Habana onder leiding van Thomas Gabrisch en de expressief solerende fluitiste Anette Maiburg voelen dat feilloos aan, zodat deze cd - waarop Clerch met meeslepende passie zijn eigen gitaarconcert vertolkt - een echte aanrader is.
www.klassiekezaken.nl, 11.9. 2012
Mit spätromantischer wie expressionistischer Klangsprache vertraut erwies sich das Orchester, das Thomas Gabrisch ebenso auf Händen trug wie die Akteure auf der Bühne.
Rheinische Post, 26.April 2011
Der feurige Engel
She found admirable support from the conductor Thomas Gabrisch, who kept orchestral dynamics well under control.
Financial Times
Sous l’efficiente direction du jeune chef Thomas Gabrisch, elle reste toujours transparente en soutant le chant superbement.
Dernières Nouvelles d’Alsace
Farbig und mit rhythmischer Verve musizierte das von Thomas Gabrisch geleitete Orchester.
Westdeutsche Zeitung, 18.April 2011
Le Nozze di Figaro – Robert Schumann University of music
Thomas Gabrisch’s orchestra of plays “mozartly”, unobtrusively but fully alert. A pure musical delight Rheinische Post, 24.th of april 2010 Opera fans are also quite taken with the music. Alongside a row of high class singersÉconductor Thomas Gabrisch presents an excellent intonated orchestra. Éhe draws his strings and wind players out to play with enormous freshness, creating a lightness that is contagious.
Neue Ruhr/ neue Rheinzeitung, 24.th of april 2010
Concerts with the broadcasting orchestra of the WDR in Cologne
The WDR-broadcasting orchestra under the direction of Thomas Gabrisch offered marvellous tone qualities, in addition to brilliance in brass, percussion and harp.
Kölner Stadt Anzeiger
Thomas Gabrisch as conductor of the broadcasting orchestra Cologne and his love of details produced a flawless sonority from an orchestra that plays with such visible and audible joy. Ruhr-Nachrichten, Dortmund The music played by the broadcasting orchestra Cologne under the direction of Thomas Gabrisch was very infectious and spread South American flair in the rumba “Kautschuk” from the movie of the same name. The orchestra accompanied the singers attentively and flexibly. Light music at highest level.
Westdeutsche Allgemeine Zeitung
Concert with the philharmonic orchestra Mainz
Another source of fundamental musical forces, another more intensive concentration Gabrisch and the orchestra achieved in the five enormous dense movements of Bela Bartóks concert for orchestra. The “Introduzione” sounds fateful, in the Elegia Gabrisch whips all the emotions as far as they will go the interpretation by the philharmonic orchestra directed by guest conductor Thomas Gabrisch was indeed very profound. He navigates the colours of sound clearly and confidently, bringing the orchestra to a distinctive, contoured performance.
Mainzer Rheinzeitung
Prof. Reinhold Friedrich played as a soloist in the Trumpet Concert of Bernd Alois Zimmermann “Nobody knows de trouble I see”:
“This highly complex piece was conducted by Mr. Gabrisch with great circumspection and fiery temperament. His supreme dealings with the orchestra were underlined by high professionalism and vast expert knowledge. The ideal atmosphere brought about by the friendly setting of the tone motivated the orchestra to a glittering performance of this exceedingly difficult work.”
Meistersingerhalle Nürnberg
Prof. Klauspeter Seibel, former chief conductor of the Nuremberg Symphony Orchestra and his professor:
”Mr. Gabrisch is a musician to be taken seriously. He has persuasiveness and personal magnetism”
With the new chief of the Nuremberg Symphony Orchestra there is fresh wind blowing through the orchestra. With his youthful vigour Gabrisch demands the concentration of the orchestra His style of conducting is marked by mathematical precision, which results in musically precise and detailed interpretations. The agility and fully developed power of his imagination benefits not only the orchestra sound but also the works of music. The Nuremberg Symphony Orchestra gave a convincing performance with Beethovens 3.piano concert with Homero Francesch as soloist.
Nürnberger Zeitung
The public in the packed Meistersingerhalle was very enthusiastic with Werner Heider’s Concert for Horn and Orchestra with a fantastic virtuoso Marie Luise Neunecker. Chief conductor Gabrisch presented a carefully studied and well-rounded performance of this difficult, rhythmically delicate and beautiful sounding piece.
Abendzeitung Nürnberg
Werner Heider, composer On the occasion of the first performance of his Concert for Horn and Orchestra:
”I was present from the first rehearsal on and was really impressed with his sensitivity, his intense and persuading commitment to my delicate work. His musical and technical experience convinced the soloist Marie Luise Neunecker, the orchestra and the composer completely; not to mention also his pleasant and friendly dealings with the colleagues.”
Thomas Gabrisch interpretated the piece from the non-romantic side. The orchestra played bright and clearly, with power and emphasis and a sense of feeling for the fine structures. Clearly Mozart. A beautiful conclusion to a thrilling program.
Nürnberger Nachrichten
Prof. Ralph Manno Played as soloist in the Concert for Clarinet and Orchestra of Mozart: ”Without question he has a tremendous ability to conduct and has great experience. His language of music is lively and well thought-out. To work with him as a soloist was always an exceptional delight, he is capable of inspiring and he has prepared every piece for himself with remarkable diligence.”
Gabrisch made a brilliant impression,he has shown why he has succeeded in his career so quickly: He had exactly the right mixture of precise conducting technique and emphasis, which motivated the exceedingly homogeneous and rich sounding orchestra to an outstanding performance.
Westdeutsche Allgemeine Zeitung
Cos’ fan tutte
Thomas Gabrisch … held the pit and stage together well in Cologne, the Guerzenich-Orchestra supported soft tones attentively and played the livelier sections brilliantly. Soloists, ensembles and orchestra played their part skilfully thanks to the conductors proficiency in MozartÕs works.
Kölner Stadt Anzeiger
Jenufa
How Thomas Gabrisch took Janácek’s short hand and joined vocal and instrumental phrases - how he presented the constantly varying repetitions of the rhythmic segments without making them mundane Ð this shows something about his ability to analyse a score in depth.
Die Opernwelt
Ariadne auf Naxos
The fact that the performance draws one overwhelmingly towards the finale is largely due to the conductor … who establishes idyllic interludes and works through all notable orchestral details.
Die Opernwelt
Donald Runnicles, world renown conductor, was chief in Freiburg and San Francisco, is now Generalmusikdirektor at the Deutsche Oper Berlin: “It is refreshing to watch how carefully and inspiringly Thomas Gabrisch works on a new piece. Both the singers and the orchestra musicians feel that they are in good hands Ð well led.”
First concert in Freiburg
Gabrisch who effectively distinguishes between sound spaces and ideas juggled joyfully and successfully with moods, tempo contrasts, the wittiness of the syncopated Cha-Cha and the devotion to the sweeping-schmaltzy Melos. A glorious, creative debut that the public long acclaimed.
Badische Zeitung
Second concert in Freiburg
The outline is very concise, the pressure builds in the music. The conductor draws out the intonations. The intonations can be abrupt. An all-or-nothing conducting, Thomas Gabrisch conducts Beethovens 4th Symphony as if there is no tomorrow. Full of tension, with small subtle changes of tempo in the slow introduction. And then he storms though the piece without omitting any detail. The impulse is great, the pace is almost aggressive, gruff – Beethoven close to the original tempi, whose corners and edges are never smoothed. How deep the value of expression goes in the Adagio, patient, at the edge of a deadlock Ð everything gilded and polished is far away. Head plus temperament plus brio.
Badische Zeitung
