“Dardanus” by J. P. Rameau – Bonn Opera House
Attilio Cremonesi had the Beethoven orchestra well under control, let it play pointedly, tonally and rhythmically sharpened.
The sound of the Beethoven Orchestra, under the direction of Attilio Cremonesi, appeared pure, transparent and sharpened by the wealth of overtones from the very first bars of the overture. Sparse vibrato, flexible rhythms, delicious harpsichord improvisations in the continuo contributed to finely drawn.
The orchestral sound of the Beethoven Orchestra is so delicate that you sometimes forget that there are no baroque specialists at work here. But that’s not entirely true, since Attilio Cremonesi is an outspoken expert for the early 18th century at the podium in the Bonn theater.
“Dido and Aeneas”, work by H. Purcell – Berlin State Opera
Cremonesi belongs to the generation of early music makers who are now free, cheeky and fresh to concentrate on making music. Color, lust for life, nuances, fragrances, seduction – these are the categories of this musician. For Purcell’s tragic love story, Cremonesi uses 22 strings from Berlin’s Academy for Early Music; they are far from producing a thick espressivo sound. The conductor conjures up airy dances with them … this is a homage to weightlessness, to the quiet, to the playful – to the divine.
… the sound that Cremonesi designed for the Berlin Academy for Early Music: there is a full, almost three-dimensional tone that has both depth and multi-part liveliness. Baroque as a constantly new and weighted synthesis of soft, color and movement. It is an acoustic picture gallery that Cremonesi lined up there …
The Academy for Early Music Berlin under the direction of Cremonesi spreads magical, transparent sound images and delivers rhythmically razor-sharp dances. You are soon happy about every piece of music that is new: point, sentence and victory for Purcell.
Italian chef Attilio Cremonesi has a tremendous sense of the theater. Here he conducts the excellent Akademie für Alte Musik Berlin with a keen sense of color, but also with a great modesty and a precision of tone which make that each episode – dramatic or comical, bucolic or disturbing – finds the right tone.
[La Libre Belgique]
The musical direction was a fortune for this production, as Attilio Cremonesi drew from the Akademie für Alte Musik Berlin an arrhythmically enthralling sound, rich in transparency and lightness.
“Juditha Triumphans”, oratory of A. Vivaldi – City Hall of Sydney
The conductor Attilio Cremonesi pratically jumped out of his skin with pleasure… He drove the vibrantly coloured score forward with urgency and vigour. Juditha Triumphans is a mix oft the martial and the sensual and Cremonesi certainly didn’t neglect the latter. It was a luscious night.
The Orchestra of the Antipodes played with sensitivity and gusto under the energetic direction of Attilio Cremonesi. Its vigorous attack and rhytmic drive invigorated passages of intense drama while contemplative moments benefited from gently gleaming sonorities.
“Concerto Sinfonico”, Baroque and pre-classical program – Münster Opera House
The Italian baroque specialist A. Cremonesi conducted the first symphony concert with elegant verve and precise drawing, the Münster Symphony Orchestra followed him down to the finest nuances.
Under the direction of Attilio Cremonesi, the Münster Symphony Orchestra feels very at home in the Baroque and Early Classical periods.
“Il Ratto del Serraglio”, opera by W. A. Mozart – Theater of Basel
… Mozart’s music for whose blazing emotions the Italian Attilio Cremonesi has a practiced knowledge and a subtle ear. Cremonesi conducts the piece so permeably for its rhetoric, the pulsating affects, as one has hardly heard them so “speaking” before. He and the Kammerorchesterbasel create a vital sound language in which the musical moments of expression are shaped and at the same time broken up – through many variations and decorations, fermatas, pauses and small improvisations, in the orchestra and with the singers. Vibrant liveliness is a musical imperative.
A wonderful Mozart tone can be heard from the orchestra pit. Attilio Cremonesi at the podium elicits a flatter, slim tone from the Basel Chamber Orchestra, rich in color in the instrumental details, enriched with a baroque touch. Musically a genus.
The internationally renowned conductor and early music specialist Attilio Cremonesi explores Mozart’s score to all its extremes. His handling of the tempos is also exciting. In Adagio passages he lets the flow stagnate, making it clear how Mozart’s characters doubt themselves, hesitate, are unsure of their feelings. In stark contrast to this, he sets the fast-played Allegro parts, which sometimes tell us about the anger of the characters, then again about moments of euphoria. Mozart’s music swings wonderfully there. He savored the breaks, halting the action, as it were: a brief hesitation, reflection.
“Romolo e Ersilia”, J. A. Hasse – Innsbruck Early Music Festival, Herne Early Music Days
Musically, the evening was a single highlight anyway. Under the splendid direction of the conductor Cremonesi, the musicians of the French orchestra Café Zimmermann were in top form.
With a keen sense for the baroque timbres, A. Cremonesi guides the Ensemble Café Zimmermann very precisely through the score and works out the merits of the music very clearly.
Cremonesi leads the orchestra with passion. That thanks him with precision, enthusiasm and concentration. The French orchestra “Café Zimmermann” and its conductor are the highlight of the evening.
“Die Schöpfung”, F. J. Haydn – Beethoven Hall in Bonn
With the Beethoven Orchestra, Cremonesi was able to illuminate all facets of Haydn’s creation and implement many musical details in an exemplary manner. He exercised pleasant restraint in emotionally charged moments, fashionable extremes such as in the second part with the creation of animals, remained the exception. The musical exegesis took place subtly at the highest level.
“Dido and Aeneas”, H. Purcell – La Fenice Theater in Venice
The musical direction of Attilio Cremonesi reveals empathy with the dramatic development and translates the variety of emotions and contrasts of the score in full harmony with the singing and with the choreographic movement. The orchestra with its precise and bright sound is noteworthy. The choir of the Fenice is remarkable for its musical precision. Great and deserved success for a show of rare perfection.
The strings of the Fenice orchestra were directed by Attilio Cremonesi according to an interpretative line of articulated expressive range, chiaroscuro as necessary, well-defined in time, stylistically adequate in phrasing, capable of enhancing Purcell’s melodic invention.
[Il Giornale di Vicenza]
Skilled musical execution, with the musical direction of Attilio Cremonesi, capable of making our strings play as if they were ancient instruments.
[Il Gazzettino di Venezia]
“Giulio Cesare”, G. F. Händel – Klagenfurt Opera House
The specialist Attilio Cremonesi was hired for Handel’s masterpiece. And it is astonishing how the Carinthian Symphony Orchestra, otherwise hardly familiar with this music, is immersed in the style, coloristics and dynamics of this early music. The Italian maestro is extremely concentrated, confident and animated, and the musicians follow him with great energy willingly and enthusiastically. Constant ovation that has not been seen here for a long time.
[Der Neue Merker Wien]
Under the agile, Italian maestro Attilio Cremonesi, there is lively action with enormous drive, ideal terrace dynamics, then again melancholy veiled in wide tonal colors and high emotional intensity is generated.
Responsible for the successful surprise is Attilio Cremonesi, who animates the orchestra to diversify Handel’s music with rich nuances, deeply felt and also dance-like.
[Die Presse Wien]
“Antigone”, T. Traetta – Kammeroper Vienna
Attilio Cremonesi leads the Bach Consort intensely, dynamically and colorfully.
…the remarkable thing is playing on the soundtrack that evening. And first of all in the orchestra pit. Attilio Cremonesi worked on the exciting score with the Vienna Bach Consort. Traetta could not have found a better lawyer than Cremonesi: the tempos swift but not hasty, a dynamic direction cleverly arranged down to the last detail, phrasing that comes as close as possible to human speech, and above all a sound that is still energetic in fine piano passages, which is particularly clear at places where tension has to be maintained. A tension that can literally be felt in this plastic sound that Cremonesi forms with his musicians.
“Così Fan Tutte”, W. A. Mozart – Capitol Theater in Toulouse
At the head of a precise and flexible National Capitol Orchestra in Mozart formation, Attilio Cremonesi delivers a reading that is as dynamic as it is attentive to the stage.
The Capitol Orchestra sounds tremendously under the precise and attentive direction of Attilio Cremonesi.
Attilio Cremonesi sets off a drama from the first notes of the overture, yielding to Buffo only what is needed to maintain a devilishly effective dramatic tension, making you forget the sequence of numbers in the score. Indeed the recitatives are alive and dramatized ensuring a beautiful solution of continuity to the opera. The result is magnificent.
“Don Giovanni”, W. A. Mozart – Capitol Theater in Toulouse
A performance that must be recognized and appreciated. Attilio Cremonesi led the set with all the zest and energy needed, coupled with an emphasis on the set at all times, allowing the contingencies of the cast to be savored with flying colors.
The Orchestra is very finely conducted by Attilio Cremonesi, with a view to clarity and lightness.
At the head of the Capitoline Orchestra, Italian conductor Attilio Cremonesi maintains a rhythmic vitality that does not weaken. Very attentive to the dramatic movement of the work, to the stage, he raised the orchestra pit. Here we are closer to a style of historical interpretation.
“Le Nozze di Figaro”, W. A. Mozart – Capitol Theater in Toulouse
Finally, we note the excellent performance of the Capitol Orchestra, which demonstrates cohesion, accuracy and precision, responding with prominence to the solicitations of the Italian conductor Attilio Cremonesi. Leading his musicians with great dynamism and theatrical sense, he nonetheless remains very attentive to all the inflections of young singers, being careful not to ever cover any.
Attilio Cremonesi, accustomed to bringing the Austrian composer’s work to Toulouse, wears enthusiastic direction throughout the three hours of opera, displaying a permanent smile. The accompaniment remains discreet all the same, all the instrumental passages except the opening being staged and accentuating the comic effect of the piece.
“Alcina”, G. F. Händel – Münster Opera House
It is a short Alcina version developed by Attilio Cremonesi, musical director and “Artist in Residence”. One that drives the action forward without frills and pushing forward. And that is exactly what is reflected in the orchestra pit. Cremonesi and the Münster Symphony Orchestra emit crisp, sometimes almost harsh sounds, without having to forego the necessary moments of rest or pause…. A firework of emotions and heartwarming moments unfolded, which were enthusiastically celebrated.
“Il Turco in Italia”, G. Rossini – Capitol Theater in Toulouse
Attilio Cremonesi taking care of the colors of an Orchestra of the Capitol of the great days (the overture is a treat), conducts everything with precision, flexibility and poetry.
The full blazing orchestra conductor belongs to Attilio Cremonesi, whose nuanced complicity of amiable authority works wonders with the Orchestra and soloists. An airy and rhythmic direction of good humor which makes the strings sparkle and the Harmony and the brass instruments shine. But above all, Attilio Cremonesi has this smile held by the indescribable tenderness to Rossini. Bon vivant, may without excessive overflows. Delicate and elegant, intelligent and loving with a deep tenderness this incomparable music.
From the opening, we know that the Capitol Orchestra is in great health with perfectly elegant horn and trumpet soloists. Attilio Cremonesi conducts with energy and passion, a more subtle score than it seems. The balance with the vocals is ideal, and the large ensembles, especially the glorious first finale, are balanced.
“Le Nozze di Figaro”, W. A. Mozart – Municipal Theater of Santiago de Chile
From the first note, maestro Attilio Cremonesi set the tone in the sound and we realized that the Philharmonic Orchestra was not the same as always. It had a dry, cutting sound, almost no vibrato, a baroque sound almost like using only original instruments. Very avant-garde, great concertmaster, successful consolidation work, an even and disciplined sound marked this version of “Las Boda de Figaro” in the orchestral part.
The performance of the orchestra responded simply to what was expected: the presence of the Italian maestro Attilio Cremonesi, gave personality, musical semblance, to a Philharmonic that fulfilled this premiere, one of its most memorable presentations so far this season.
Attilio Cremonesi a director of much greater draft. His work is formidable, eliciting magnificent responses from the Philharmonic Orchestra and handling voices at his fingertips.
Symphony concert with the Beethoven Orchestra of Bonn – Aula of the University of Bonn
With a bit of smoothness and a bit of drama, Cremonesi and the Beethoven Orchestra achieved a mixture of lightness à la Rossini and great depth of expression à la Schubert in Schubert’s overture in the Italian style. Naturally, the Great Symphony in C major was far more important. The “heavenly length” of the piece as apostrophized by R.Schumann was surprisingly entertaining in Cremonesi’s interpretation. The first movement was completed with a wiry and slim sound pattern with a never-ending tension curve, the Andante con moto was designed in a jagged and distinctive manner and the Scherzo was played in a relaxed, fluffy manner and with dance-like grace. Schubert’s music swung with a slight elegance, sounded relaxed, airy and, despite its weighty significance, possessed great momentum in every second. Cremonesi drove the orchestra restlessly, but not insensitively, through the work and consistently relied on a slender, less massive than rather delicately fanned out sound, which the Beethoven Orchestra consistently implemented with skill.
“La Cenerentola”, G. Rossini – Mannheim National Theater
The real surprise of this rehearsal is the National Theater Orchestra under the direction of guest conductor Attilio Cremonesi (who accompanies the recitatives himself on the fortepiano). With brisk tempos and a transparent, lively sound, this is a Rossini sound that leaves little to be desired.
The guest conductor Attilio Cremonesi, a proven Rossini specialist, struck sparks from the brilliant score time and again with the well-prepared National Theater Orchestra and confidently accompanied the secco recitatives on the fortepiano.
It was played in a historically informed manner, to which the conductor Attilio Cremonesi in particular played a large part. He meticulously undertook the overture straight away, and brought it to fairytale-like life in a carefully listened-to version, so that the very beginning of the opera was a highlight. Particular attention is paid to the splashing, rhythmically intricate sprinkles of the woodwinds. Intoxicating climaxes in the tutti are always kept spiritually under control with the strings that are withdrawn from vibrato, so that the music never “fizzles out” without tension. The fortepiano accompanying the recitatives generates a magically dark sound.
“La Pietra del paragone”, G. Rossini – Musikhochscule Freiburg
Attilio Cremonesi and a carefully composed music academy orchestra with remarkable ensemble and soloist qualities ensure that Rossini’s La Pietra del Paragone is also passionately mastered instrumental. Cremonesi refines the finesse in dynamics and phrasing, you can feel the fun of everyone involved, starting right away with the overture.
“Jazziah, The Messiah realoded”, G. F. Händel, D. Caliri – Bern – Halle
The musical director Attilio Cremonesi is consciously looking for a new interpretation of the centuries-old musical text, and so it sounds more like a kind of premiere than the arrangement of a well-known work. The music changes at every moment, and this creative liveliness creates a vibrating state of emergency.
[Der Bund Bern]
It was a pleasure to see how Attilio Cremonesi took his musicians and singers with him and guided them precisely throughout the performance. How all actors mastered the change from classical to jazzy elements was impressive.
“Don Giovanni”, W. A. Mozart – Municipal Theater of Santiago de Chile
The Italian teacher Attilio Cremonesi once again proved to be very well connected with the Santiago Philharmonic, achieving a successful balance between the pit and the stage, highlighting the beauty and contrasts of the score, attentive to the theatrical. Cremonesi’s directing was one of the best of the premiere, and he allowed himself to try interesting and not so traditional elements, such as the accompaniments to the recitatives, more expressive and descriptive than usual.
[Radio Dulce Patria]
Attilio Cremonesi’s version has a baroque approach and the sound achieved allowed us to reveal some of the chamber music details that the score has and to assess the progress in fingering that the string section of the Philharmonic Orchestra has had. The director was always aware of the singers.
The musical direction showed a concept of the opera that gave primacy to the details with an overture full of dynamic nuances. He managed to expand or reduce the orchestra as the situation required. From the stage, he fiercely controlled and closed arias, duets, trios, and concertados, with a broad and generous gesture, permanently accompanying the singers.
[Cine y Literatura]
“La Clemenza di Tito”, W. A. Mozart – Capitol Theater in Toulouse
To all honor, the main architect of this success for us is Attilio Cremonesi. From the opening, the tone is set: the transparency of colors, their affirmation, their contrasts, their fusion, rhythmic vivacity, the dynamics of accents, so many elements of the speech to which the orchestra adheres with reactivity, flexibility and a conviction that make him an essential protagonist.
It is the smile of Attilio Cremonesi who conducts very attentively, perfect choir and orchestra, sublime basset horn. And we have the immense pleasure of being able, until the last encore, to applaud the musicians happily prisoners of their grave.
Attilio cremonesi smiling and happy with his orchestra seeks to give the performance lightness and depth … It is to Cremonesi that we owe essentially the emotional moments, and particularly in the second half of the second act, where the we approach a form of noble grandeur without gravity.