“Master conductor” (Süddeutsche Zeitung) Andrés Orozco-Estrada makes his Chicago Symphony Orchestra debut, with a programme which includes Kodály, Sibelius, Ives and Strauss, between 27-30 October. Mr. Orozco-Estrada’s CSO debut marks the beginning of a busy 2016/17 season, in which other highlights include a debut with the Berlin Philharmonic Orchestra and a re-invitation to conduct La Traviata at Glyndebourne.
Mr. Orozco-Estrada has also enjoyed a highly successful summer, for which he received widespread critical acclaim for his performances at the Salzburg Festival with the Vienna Philharmonic and the Concetus Musicus Wien, and for a production of Strauss’ Salome with the Frankfurt Radio Symphony, in which he replaced the great Nikolaus Harnoncourt.
Der Neue Merker described the Salome production with the Frankfurt Radio Symphony as “a superlative concert performance”, whilst Offenbach-Post wrote:
“Thanks to the brilliantly attuned orchestra and their Music Director Andrés Orozco-Estrada, they mercilessly executed this psychological drama. (…) As Andrés Orozco-Estrada almost imperceptibly conducts, a flame burns within him, as does his appreciation for modernistic roughness. He delivers an eerily beautiful contrabassoon intermezzo, drives the percussion section hard, uncovers mysterious oriental flair in the Dance of the Seven Veils, but also beguiles with velvety strings in the style of the Rosenkavalier.”
The Frankfurter Rundschau wrote of the production:
“The most salient components of any performance of Salome were especially convincing this time round. The Frankfurt Symphony musicians and their Music Director Andrés Orozco-Estrada stood their ground amid the power and grandeur of Salome’s orchestral diction.”
Of Mr. Orozco-Estrada’s concert with the Concetus Musicus Wien, Wiener Zeitung said:
“Harnoncourt would surely have approved of the energy and resolve with which Orozco-Estrada plunged into this giant among symphonies. Lightning fast tempi, harsh contours and dramatically placed general pauses characterised the first two movements. The third he crafted into an eerie island of blissful calm, only to turn the Ode to Joy finale into a sincere call for hope by a world in dire straits. (…) The Colombian achieved a characterful interpretation.”
And of the concert with the Vienna Philharmonic, Die Presse writes:
“A musical truffle hunt turned to triumph. (…) The orchestra was on top form, displaying precision and clarity in equal measure, with magnificent woodwind solos and finely etched lines in the string section. Packed with drama and finely balanced under Andrés Orozco-Estrada’s direction, the sound was a veritable bel canto truffle.”