Yaron Traub émerveille l’auditoire de l’OSW

La Liberté, Winnipeg. Pierre Meunier | January 16th, 2016

“…À ses débuts avec l’Orchestre symphonique de Winnipeg, le 15 janvier 2106, Yaron Traub a présenté un concert d’une exceptionnelle beauté artistique, amenant l’orchestre à donner une de ses plus belles prestations des dernières années”

 

“…Dès les premières mesures des Variations sur un thème de Hayden de Johannes Brahms, qu’il a dirigées de mémoire, nous avons constaté que M. Traub est doué d’une grande sensibilité musicale. Il a exposé le thème avec beaucoup de délicatesse et de finesse, comme s’il dessinait une esquisse de dentelle. Il a ensuite enchaîné les 8 variations en donnant à chacune son rythme, ses couleurs et son esprit propre, comme une suite de miniatures d’un même paysage à différentes heures du jour et en différentes saisons. Il a amené les musiciens à jouer avec beaucoup d’expressivité. Le jeu des cordes était particulièrement remarquable. Les attaques lançaient de superbes phrasés bien accentués, avec des nuances subtiles et de belles lignes mélodiques.”

 

“…La Deuxième symphonie a connu un immense succès. Elle évoque un passage des ténèbres à la lumière, à la manière des 5e et 9e symphonies de Beethoven, que Schumann idolâtrait, mais dans une perspective plus personnelle. Schumann s’est inspiré de son expérience personnelle alors que Beethoven réagissait aux conflits meurtriers de son époque. Schumann a affirmé qu’il se sentait mieux après avoir terminé sa Deuxième, ce qui permet de penser que l’œuvre constitue peut-être une forme de journal de son parcours de rétablissement. Traub en a donné une exécution mémorable. C’est une œuvre qu’il a profondément assimilée et dont il comprend très bien le sens. Il la dirige de mémoire. Il a maintenu une grande tension émotive au cours des deux premiers mouvements (Sostenuto – allegro ma non troppo et Sherzo : allegro vivace) qui semblent évoquer le combat de Schumann contre ses démons, ses passages fréquents de la joie à des coups de déprime et finalement à la dépression. Rarement a-t-on récemment entendu l’orchestre jouer avec autant d’expressivité. Les couleurs sont superbes, les phrasés éloquents, l’équilibre sonore impeccable.”

 

“…Traub a fait une longue pause avant d’entreprendre le troisième mouvement, afin de laisser retomber la tension. L’Adagio espressivo, l’un des plus beaux mouvements lents du répertoire, est sans doute une des compositions les plus inspirées de Schumann. Extrêmement lyrique, il exprime combien Schumann devait se sentir heureux dans ses épisodes de stabilité, avec sa bienaimée Clara et leurs enfants (ils en avaient quatre au moment de la composition de la 2e, dont l’un décéda en 1847, et quatre autres naquirent par la suite, le dernier en 1854, pendant l’internement de son père qui ne l’a jamais vu). Traub en a donné une interprétation sublime, faisant de ce mouvement un grandiose poème à l’amour et à la paix retrouvés. On y entend de superbes lignes aux violons (on dit que ce sont presque des passages obligés lors des auditions pour l’engagement de violonistes), qui ont été jouées avec beaucoup de lyrisme et d’émotion.”  Link to article.

Shostakovich 10th Symphony

Valencia Plaza. Rosa Solá | 30/5/16

The best of the evening came in the second part, with the Orchestra and Traub giving one of their best ever performances. Right from the start, they all seemed to be in a state of grace regarding the understanding of the spirit at the heart of Shostakovich’s 10th Symphony. It was also clear that there was a profound bond between baton and musicians. This gave rise to an impeccable performance as far as calibration, tone and sound were concerned, even though the score spotlights the connections between sections and individual ability. The soloists were too many to mention here, but it must be noted that nobody let the side down.

Shostakovich 10th Symphony

Levante. A. Brotons | 29/5/16

In one of their many interpretations that will stay in people’s minds for years to come, Yaron Traub and his musicians recounted the intimate history of this masterpiece, delving deep into its fabric in order to take the audience from the horrific oppression of the overture to the triumphant affirmation of survival and hope in a conclusion of crescendi that was assembled with a perfect dosage of intensities.

Rossini Stabat Mater

Levante. A. Brotons | 26/2/16

The orchestra and choir reached new heights of interpretative genius on the night, responding swiftly and masterfully to the orders of a conductor who is gifted with great intuition for understanding indications of volume and tempo and, above all, of expression.

Strauss Ein Heldenleben

Levante. A. Brotons | 21/2/16

…This version of Ein Heldenleben (A Hero’s Life) was both brilliant and solid. As he did eight years ago, Yaron Traub narrated one of his favourite compositions with order and precision, as well as with that particular combination of versatility and coherency that, for example led to the seamless transition from the ramblings of Pauline (the composer’s wife), reflecting all of its nuances (from exasperatingly trivial gossip to torrid and erotic sensuality) via the violin of Enrique Palomares, to the din of the titanic battle.

Albéniz Suite Española/ Beethoven 9th

RITMO. Antonio Vidal | 1/12/15

Traub was at his ease throughout and, after the brilliant interpretation of Frühbeck’s arrangement of Albeniz’s opus, he efficiently conducted Beethoven’s Ninth. The OV is experiencing a moment of glory that is the result of its masters under Traub’s attentive conducting; after several years, he has been able to bring the musicians to fully enjoy interpreting the fundamental works of the repertoire, delving deep into them and obtaining very interesting nuances in some passages. All the sections have improved noticeably.

Bruckner 8

Levante. A. Brotons | 23/11/15

…Whenever possible, Yaron Traub has shown that Bruckner is one of the composers that he can make the most of as a result of his training under Celibidache and Barenboim. The latest demonstration of this is the second Symphony Nº 8 that he conducted with an orchestra that, under his ten years of stewardship, has also turned this composer into one of its flagships. This was indeed a complete Bruckner, with all of the depths of expressiveness, rustic musings and subtleties of tone but without affecting the order, choral expressivity and structural solidity in its accumulation of tensions leading to successive heights of full and massive sound. A particularly pleasing aspect was the exquisite painstakingness in maintaining a continuous expressive density with precise doses of tempo rubato, a dynamic calibration and eloquent phrasing that never unsettled the balance between melodiousness and structure.

Bruckner 8

El MUNDO. JOSÉ ANTONIO CANTÓN | 26/10/15,

With a style that brings to mind the great conductors between the Thirties and the Seventies, this maestro from Tel Aviv has developed his version based on a precise construction of dynamics, and is able to successfully sublimate the transition from the weakest moments to the most intense fortissimi with a complex spontaneity required by the composer’s contrasting and paradoxical personality, which was obvious during the central part of the first movement and, fundamentally, in the excellent treatment that was given to its coda, where the great musicality and technical mastery of this orchestra shone through. Its cohesion and organic uniqueness as an instrument, was manifest in the interpretation and the effects achieved in the lento trio of the second movement. For the rich modulations that compose this passage, in which Bruckner introduces a certain mystical intention, Traub awoke the orchestra’s qualities in all their splendour, using his baton to draw the musical sketch demanded by the composer, confident that all of his musicians would bring to bear their technical prowess and aesthetic convictions. This was undoubtedly one of the culminating moments of this excellent symphonic evening.
Traub knew how to bring out the suggestive and majestic character of this music by revealing to the audience the thematic alignment and the contrapuntal treatment demanded by the composer for this most transcendental moment of the symphony, in which a conductor’s abilities, and an orchestra’s quality, are put to the test.

Bruckner 8

ABC. J. Guzmán | 27/10/15

During all the years that Yaron Traub has been at the head of the Orchestra of Valencia we have observed that the Israeli conductor feels a particular affinity with postromantic music, within which Strauss and Bruckner are his favourites. Indeed, in the customary introduction, the conductor confessed a certain personal inclination for the Austrian composer’s symphonic music. Traub showed a particular implication with a sensitive and very interiorised way of conducting. We can say, following the magnificent interpretation that he gave many years ago of this very score, that in this occasion he went beyond it, if such a thing is possible. His capacity to shape the sound that flowed from the orchestra depending on the moment of the passage, through a concise and extremely varied study of the dynamics, caught my attention. At this level, Traub can practically draw out all the essence that is found in the staves, which is outstanding. The interpretation never declined and achieved a symphonic continuity that, miraculously, did not falter after the silences of each transition.

Mahler 2, Multifaceted and Coherent

Levante. A. Brotons | 01/06/15

…The Orchestra of Valencia and its conductor Yaron Traub assembled the pieces of this puzzle whilst enjoying the ability to be able to see the wood for the trees… the good management of the return to the first Tempo I at number ten or the precise reading of the sostenuto indication for the entrance of the coda, as well as, already in the Andante, the sensitivity with which the pizzicato passage was linked to what follows, contributed to the clearness of the message.

Hindemith Mathis

Levante. Brotons | 26/04/2015

…In the Matthias the Painter symphony, which demands an extreme contrapuntal technical mastery and a high capacity in expressing sometimes nobleness, at other times tenderness or tension, often at the same time, Traub was always on point. From a swift introduction that was properly projected by the choir, he did not let some of the passages, such as the moving albeit simple theme that accompanies the death of the young Regina, to become too sentimental. The glorious climax of the Concert of Angels, the description of Saint Anthony’s torments (the sinuous yet precisely traced interpretation of the strings, followed by the hammer blows of the wind instruments: the opening of the Gates of Hades) and the final Hallelujah, were moving but the heart of the arrangement was the ineffably sombre account of a Funeral by the brass instruments.

Parsifal

Levante 31/3/15 A. Brotons

In the third act of Parsifal, Yaron Traub and the orchestra managed to balance the attention with the spiritual essence of the work and the beauty of the ways it expresses itself. The most reflexive excerpts were sensual and yet did not weaken the support of the line even where the harmony in the writing is most intricate and the general sedateness of the tempi never crossed the line into lethargy.

Beethoven Pastoral

RITMO. Antonio Vidal  | February 2nd, 2015

“…After years of intense work, Yaron Traub and the Orchestra of Valencia are being rewarded with moments of sheer sweetness. The harmony, the control and the clear exhibition of the motifs during the interpretation of Night on Bald Mountain are proof positive of this. The high level achieved during Beethoven’s Pastoral Symphony delighted the new aficionados that are coming for the first time to listen to Beethoven’s score and for the rest of the audience it was an interpretation exempt of any artifices, vices, not even from the conductor or the orchestra, and a clear exhibition.”

One of the Great Ones

Levante. Alfredo Brotons | 15/2/2015

“This was one of the season’s greatest concerts … the orchestral performance here was as commendable as subsequently in Bruckner’s Seventh so that the list of individual honorific recognition had to be extended (…) and once again the excellent concentration of which the cord section is today capable of achieving was experienced. One of the most important things was the coherence with which the first movement was built … the tense lyricism of the second, the ease with which the scherzo was delivered and the firmness in both the approach and execution of the finale in which the orchestra and the conductor deserved the great triumph they achieved.”

Majestic Bruckner performed in the Cathedral

ABC. Joaquín Guzmán | 18/2/2015

“What an excellent idea it was to take Anton Bruckner’s music into the cathedral. Yaron Traub’s magnificent reading more than satisfied my expectations. He knows every detail of the work and it can be clearly confirmed that he now gives a clearly identifiable interpretation characterised by some “tempi lentos” ( … ) Rarely have I heard Bruckner sound so majestic, especially in the string and horn sections. Each and very crescendo became an emotional experience. And even if for many of those who came, this was the first time they had experienced this extraordinary, but not easily understood music, I am convinced that even this sector of the audience must have been moved during more than one passage. ( … ) The large audience and their enthusiastic reaction, will, I hope lead to a repeat experience.”

The art of Rubato

Levante. Alfredo Brotons | 25/1/2015

“… the undeniably attractive result is in that it always distinguishes originality as long as it does not go against coherence. Not to disappoint in terms of what was expected, the Iberia debussyana ( … ) maintained the level of interest. It was kept up by the constant attention to detail in the treatment of the voluptuous essences evoked, including moments of opulence as much as those of intimacy, skilfully delivered by an orchestra which once again responded promptly and precisely to the nuances demanded by the conductor. The Poem of Ecstasy, the height of Scriabin’s orchestral production, was highly commendably executed.”

Exemplary musicians

Levante. Alfredo Brotons | 09/11/2014

“Once again Emmanuel Pahud triumphed in his third appearance in the Iturbi hall, for the second consecutive year with the Orquesta de Valencia. ( … ) The accompaniment (of the Orchestra) was amazingly complete. Both the violas and also the first faggots and clarinets were outstanding. The above, along with all the strings, shared the honours in the Pathétique which, with a fascinating balance between rigour and flexibility, closed this truly exemplary performance.”

High Voltage Romanticism

Levante. Alfredo Brotons | 26/10/2014

“This version of Sibelius’s Violin Concert was one of those that captures the audience’s attention from the very first note and did not let it go until the very end. ( … ) Without fail, the whole of the piece made a sonorous transition into the spellbinding adagio while the conclusive allegro stayed in our minds reminding us of the sensation of spontaneity it managed to transmit ( … ). Nor was the Symphonie Fantastique, which was played at the second part, left behind in romantic force; following the first movement which was more vivacious than fast, the waltz stood out for the solidity underlying the pomp, and the last three movements with even greater efficiency ( … ) to enhance with a rounded effect a terse but never tense reading, which goes far beyond what this music, at every step overflowing with heightened passions, demands.”

From Montsalvatge to Mahler

Las Provincias. César Rus | 19/10/2014

“At the start of the concert, Traub reminded us that this is his tenth season leading the orchestra. Throughout these ten years Mahler’s music has been one of the conductor’s favourites and during the period both he and the orchestra have delved more deeply into his music. In last Friday’s version the lyricism Traub was searching for in the symphony really stood out, not only in the adagietto but also in the central scherzo. The final rondo was also of note as it was light and brilliant and we must also mention the majestic final coda.”

The story continues

Levante. Alfredo Brotons | 20/10/2014

” … Mahler’s Fifth demands the exact dose and balance of rhythm and volume from the talented conductor. The Israeli maestro once again showed his art in both phases with a warm, vibrant reading, appropriately warmly applauded by a packed audience”.

From delicacy to delirium

Diario de Sevilla. Pablo J. Vayón | 16/5/2014
F. Mendelssohn: Calm sea and Prosperous Voyage.
Tomás Marco: Concierto del agua para guitarra y orquesta de cuerda.
L. v. Beethoven: Symphony nº 7.

“The Israeli Maestro Yaron Traub, Chief conductor of the Valencia Orchestra, showed two different facets during his presentation yesterday at the ROSS podium: he began with a Mendelssohn full of delicacy and depth, and ended with an overwhelming and vehement Beethoven. The first chords of Mendelssohn’s overture were indeed a marvel of silky, clear and well balanced sound on the strings, with a perfect sound on the basses holding the elegant phrasing of violins and violas. Traub also proved to be very sensitive to dynamic nuances and highlighted the rich chromatic ranges of the wind instruments. A very beautiful interpretation of a rarely performed work (…) In Beethoven’s 7th, which was played without pause between movements, Traub mastered a powerful energy in the attacks, muscle and an overwhelming force in the most delirious passages of the fast movement, and drew an Allegretto in which he avoided any hint of sentimentality thanks to firm phrasing and a rich and detailed treatment of dynamics. “

Strange, but beautiful

Levante-EMV. Alfredo Brotons | 14/4/2014
C. Saint-Säens: Samson and Delilah (II Act)
B. Bartók: Violin Concerto nº 2

“The Bacchanal of the third act, the entire second act of Samson and Delilah and, in between, Bartók´s Violin Concerto nº 2. An odd but beautiful program, due particularly to the performance we heard (…) Not less merit had Traub, obtaining the adequate precision from the musicians without sacrificing tonal transparency and with the harp and celesta reaching remarkable heights in the second variation of the central movement. (…) The accompaniment had versatility and rich colors that perhaps reached their highest expression in the evocation of God’s love by the clarinet (truly pianissimo!), the triumph was as huge as it was well deserved.”

Broadening horizons

Las Provincias. César Rus | 6/4/2014
I. Stravinski: Petrushka.

One of the undeniable virtues of Yaron Traub is his ability to connect with the audience. Since he became Chief Conductor, his idyllic relationship with the audience seems to be never-ending. This is due in part to his proximity: the maestro never hesitates to take the microphone and address the audience as equals. Besides he has a special talent to present new initiatives which offer new ways of enjoying classical music without sacrificing its essence. Last Friday we were surprised with a new proposal: a Petrushka with the collaboration of students from secondary schools as dancers. This initiative follows the path marked years ago by Simon Rattle and the Berlin Philharmonic. In fact, last year the Orchestra of Valencia and Traub did a similar job with The Rite of Spring. This time, they decided with great success, to offer it as a subscription concert. The result is a colorful proposal, whose function is primarily didactic. Young people who have participated have been able to experience firsthand the world of classical music and take part in a performance alongside with professional musicians. Musically, phrasing was the highlight in this Petrushka. In Petrushka, as in any other of the three great ballets of Stravinsky, the melody plays a key structural role and, in that sense, it was a very lyrical performance (…)

Chorus and Dances

Levante-EMV. Alfredo Brotons | 6/4/2014
I. Stravinski: Petrushka.
M. Ravel: Daphnis et Chloé

How to introduce young people to the taste for classical music? (…) The multiplying of the three protagonists of Petrushka, a choreographic idea by Hilde Koch and Rob Barendsma, was developed in front and behind the orchestra for fifty students between thirteen and fifteen years old, with a discreet technical capacity as dancers (…) As the idea was to bring music closer to the participants and the public, this modest expectation was met. The children, who have seen the show in the morning school sessions, and the general public who now discovered it, have no doubt felt a supplementary attraction particularly for this work of Stravinsky and for music in general (…) In a very correct interpretation of the second suite from Daphnis and Chloé, the rendering of the realistic ornithological effects in Sunrise excelled.

Excellent readings

Levante-EMV. Alfredo Brotons | 9/3/2014
J. Haydn: Symphony nº 94.
P.I. Tchaikovsky: Variariations on a Rococo theme/ Symphony nº 1 “Winter Daydreams”

“The three works programmed on this occasion are, in principle, far from being the most popular among the general public. However, their magnificent performances increased their value considerably, thanks to the great Basque cellist Asier Polo, the Valencia Orchestra and its Chief Conductor, Yaron Traub, joining forces to reach high levels of technical competence and interpretative inspiration. (…) it was mostly during the repetitions in the Trio of the scherzo, where the distant effects, so difficult to achieve but so beautiful to listen to, caused real delight. Tchaikovsky’s First remained at the same high level of accurate pronunciation and intonation. “

From day to night

Levante-EMV. Alfredo Brotons | 23/2/2014
F. Poulenc : Stabat Mater.
A. Bruckner : Symphony nº 6

“…With Bruckner’s Sixth (…) in an interpretation in which Traub’s direction conveyed an extraordinary and constant, yet very subtle intensity, managing to thrill without affectation”.

Charisma and wisdom

César Rus. Las Provincias | 20/2/2014.
R. Wagner: Tannhäuser (Overture)/ Tristan und Isolde (Prelude & Liebestod)/ Die Walküre (Act II)

“The orchestra showed flexibility and a very operatic feel, accompanying the singers with great care, under the diligent baton of Traub, achieving great expressive effects.”

Taking risks

Información. Federico Osorio | 1/2/2014
L.v. Beethoven: Piano Concerto nº 5 “Emperor”/ Symphony nº 5

“The magnificent performance by pianist Saleem Abboud Ashkar had the double merit of airing every difficulty and concentrating on fine brushstrokes, in a version full of rich and delicately etched details with the assurance of being backed by the attentive ear of Mr. Yaron Traub. The second great adventure involved the Fifth. Taking the risk of attempting to breathe new life into a work so close to everybody, the Valencia Orchestra shone particularly during the third and final movement. “

Works by Ferran, Strauss and Dvorák

Ritmo. Antonio Vidal | 1/12/2013
Valencia Orchestra, 70th Anniversary

“In this concert celebrating its 70th anniversary, the Valencia Orchestra showed once more the sweet moment that it is going through. In this unusual work by Strauss, Maria Rubio, professor of the Orchestra, performed as horn soloist, thus continuing Traub’s project to present to the public the best musicians within the Valencia Orchestra .Their performance of Dvorak’s Ninth was full of excellence. The orchestra followed Traub’s suggestions, and he was able to bring out all the lyricism contained in the score of the Czech composer without falling into the facile and popular interpretation other conductors turn to. He controlled tempi and developed a solid version of this popular repertoire piece. In short, a fine concert to celebrate the 70th anniversary of the Valencia Orchestra.”

La damnation de Faust.

Ritmo. Antonio Vidal | 1/12/2013
Berlioz: La damnation de Faust.

“The idea of choosing an infrequently performed work was a success (…) Traub, in front of the Valencia Orchestra since 2005, has consolidated his work and is now beginning to reap the rewards, commanding an orchestra made up of good musicians who have not always performed as they are doing now with their Chief Conductor. The orchestra was attentive throughout and shone especially in the small scenes linking the vocal parts. (…) The orchestra showed that it is going through a sweet moment, and that continued hard work has paid off and this performance in particular from the Valencia Orchestra was one of the best we can remember. “