In past performances, Mälkki and Josefowicz have shared many a dance. Saturday the Knussen concerto provided them with perfect choreography.
In past performances, Mälkki and Josefowicz have shared many a dance. Saturday the Knussen concerto provided them with perfect choreography.
In fact, Mälkki made the opening movement sing so effectively that I caught myself humming along with Prokofiev (sorry!) — and particularly enjoying the shimmering depths of the Philadelphia Orchestra sound.
Avec Susanna Mälkki, dont on a souvent loué l’intelligibilité et l’intelligence des options dans Messiaen, l’entente semble idéale.
Mälkki chisels from Haydn’s modest score an aerodynamic, white marble sculpture. Tension and repose in equal measure.
Mälkki drew colors from the orchestra and shaped dynamics in a way that was true to this music’s wistful beauty, its inner allegiance to the cadences of memory and of dusk.
Mälkki, an exceptional advocate for complex new scores, had a tight handle on the orchestral proceedings... she drew playing of terrific energy, taut balances, and bright color from the BSO. The brass and percussion sections, in particular, glowed.
In her third appearance with the orchestra, she proved once again why she’s one of the most exciting and in-demand conductors of her generation.
Eigentlich war sie nur für den erkrankten Marris Jansons eingesprungen – doch die finnische Dirigentin Susanna Mälkki sorgte in der Lübecker MuK für Begeisterungsstürme. Sie führte das Symphonieorchester des Bayerischen Rundfunks meisterhaft.
Susanna Mälkki est une « rigoriste » de la partition, dont elle va chercher les moindre nuances, sans jamais prendre les libertés qu’on entend quelquefois chez certains chefs (y compris des légendes comme Toscanini). Par une science des dosages et une grande précision du geste, elle crée une dramaturgie musicale qui clarifie et approfondit la lecture, et qui à l’audition a produit des moments de pure stupéfaction.
With a concern for the line that goes forward, Susanna Mälkki actually offers a Dvořák with clear rhythms that approaches the first Sibelius. There is much warmth in this direction of crystalline clarity, much humanity in this snooping and awakening tonicity. Little by little, the Opera Orchestra is transformed by sounds of prodigious simplicity.
This much is certain. There was never the slightest hint of vulgarity in the enthralling Los Angeles Philharmonic performance of “Turangalila” that Susanna Mälkki conducted Thursday night at Walt Disney Concert Hall. She took at face value all of Messiaen and made it purposeful.
The symphony is episodic; hearing it is like binge-watching an entire season of a TV melodrama. But under Ms. Malkki’s baton it had the cohesion of a novel. The Philharmonic musicians followed her faithfully, adding insight after insight to an overplayed work. And she brought out inner voices..."
Mälkki, who is a former music director of the Ensemble Intercontemporain in Paris, very much has her finger on the European pulse and is a compelling advocate of uncompromising modernism.
...Mälkki’s conducting is sharp and vibrantly expressive.
…with Susanna Mälkki on the podium, the entire concert on November 2 made the concept of a modern symphony orchestra itself feel vitally relevant. Juxtaposed against pleasures of Reich’s exquisitely crafted piece, a familiar Mahler symphony—the Fifth—was transformed into a revelatory experience.
On n’est pas surpris, sous cette direction experte de complexités bien plus grandes, de voir aisément rendue la dimension presque géométrique de contrepoint de l’Andante comodo. Comme d’ailleurs Boulez, elle y parvient en prenant plutôt son temps, mais sans oublier de donner un profil rythmique spécifique à chaque séquence selon son indication. Cette précision qui ne contente pas d’être mécanique, mais est d’abord d’accent et de phrasé, se révèle gratifiante à quantité d’endroits, comme au lancement du etwas frisch, de l’allegro risoluto Mit Wut (9) et surtout dans le coeur en fusion du développement qu’est la section de part et d’autre du Leidenschaftlisch (11 à 13), d’une lisibilité et d’une intensité rares, imposant un climat lunaire, quelque part entre descente au Nibelung du Rheingold et Rondes printanières du Sacre.
“[In] such a bold and wide-ranging program... Ms. Mälkki showed once again her greatness as a conductor.”
She seems able to do it all, is what I’m saying, and her gift for molding orchestral sonorities in music by Scriabin and Kaija Saariaho only added a new and unsurprising entry to the ledger of her talents.
Troisième Symphonie n° 9 de Mahler cette saison à Paris, la proposition de Susanna Mälkki avec son Philharmonique d’Helsinki est sans doute la plus aboutie, l’intelligence du discours et le poids des phrases des deux mouvements lents se trouvant seulement réduits par un incessant bruit de fond parasite à la Seine Musicale.
Das erste von drei Gastspielen des Helsinki Philharmonic Orchestra zum Auftakt der Konzertsaison der Salzburger Kulturvereinigung vermittelt vor allem hohe Qualität. Vor allem, wenn die international renommierte Dirigentin auf den norwegischen Meistercellisten Truls Mork trifft - ein nordischer Gipfel der Extraklasse.
Viel Bewegung also auf der Bühne; viel Action auch im Graben. Denn hier waltet mit der finnischen Dirigentin Susanna Mälkki eine absolute Spezialistin für das Repertoire des 20. und 21. Jahrhunderts ihres Amtes. Gemeinsam mit dem (nach einer Tournee endlich auch wieder philharmonisch besetztem) Staatsopernorchester bringt Mälkki Von Einems Musiksprache gut zum Klingen. Mächtige, abernicht zu mächtige Ausbrüche hier, zarte, intimen Szenen dort und ein bewusstes Verweisen auf musikalische Zitate prägen das Dirigatder Staatsoperndebütantin.
Schlagtechnisch perfekt steuert Susanna Mälkki das Staatsopernorchester durch die heiklen Passagen der wunderbar differenzierten Partitur.
Die Schlüssigkeit des Handlungsverlaufs bzw. des Konfliktes zwischen Danton und Robespierre, das heißt der Vertreter des gemäßigten und extremen Revolutionslagers, wird dabei durch die Exaktheit und Feingliedrigkeit unterstrichen, mit der die finnische Dirigentin Susanna Mälkki am Pult des Staatsopernorchesters die Partitur auslotet. Ihr gehört am Ende der größte Jubel.
Susanna Mälkki hat mit dem Staatsopernorchester die Partitur fein studiert und speziell in den prachtvollen Verwandlungsmusiken volle Arbeit geleistet: Die Massen auf der Bühne und das Orchester harmonierten perfekt.
Viel Bewegung also auf der Bühne; viel Action auch im Graben. Denn hier waltet mit der finnischen Dirigentin Susanna Mälkki eine absolute Spezialistin für das Repertoire des 20. und 21. Jahrhunderts ihres Amtes. Gemeinsam mit dem (nach einer Tournee endlich auch wieder philharmonisch besetztem) Staatsopernorchester bringt Mälkki Von Einems Musiksprache gut zum Klingen. Mächtige, aber nicht zu mächtige Ausbrüche hier, zarte, intimen Szenen dort und ein bewusstes Verweisen auf musikalische Zitate prägen das Dirigat der Staatsoperndebütantin. Und sängerfreundlich ist das Ganze über weite Strecken auch.
Susanna Mälkki realisiert am Pult des fulminanten Staatsopernorchesters Einems Musik ideal: Unablässig treibt die finnische Dirigentin die Rhythmen zur Entladung, sie türmt herrlich ausbalanciert die Bläserakkorde auf und lässt Singstimmen und Streichern Raum zur sinnlichen Entfaltung der Lyrismen. All das geschieht unter steter Hochspannung – jede Pause wäre ein Fremdkörper: das Werk pausenlos durchzuspielen an diesem beklemmenden und erregenden Abend, ist eine sehr gute Entscheidung.
Die Ovationen am Ende galten sowohl dem Werk selbst als auch einer Ensembleleistung ohne Schwachstelle: ein politisches Statement auf höchstem künstlerischen Niveau.
Die Finnin bewältigt den Stilpluralismus der Partitur ebenso sanftgleitend, wie sie der wuchtigen Vorlage an den richtigen Stellen die Dämpfer anlegt, um den Sängern nicht die Chance zum Glänzen zu nehmen.
Mälkki kept the players intensely focused, and the New Music Group sounded for all the world like one of Europe's top new music ensembles.
Mälkki had opened the evening with a reading of Webern’s Bach orchestration that was unusually beautiful, more Stokowski lushness than abstract lines, less Klangfarbenmelodie and more music. She followed up after the intermission with a reading of Strauss’s unaccountably popular Alpine Symphony by working together with the Philharmonic to create flow, placing the big audiophile moments within a gently exhilarating lyrical intelligibility.
On Thursday at David Geffen Hall, the Finnish conductor Susanna Malkki led the New York Philharmonic in a performance of the work that was so urgent, detailed and exciting that I forgot all about cresting sea and splashing waves. I was, instead, engrossed by the way Ms. Malkki brought out the colors, intricacies and radicalism of “La Mer”
Mälkki is not only one of the finest conductors on the scene, but a conducting star in the way of the mid-20th century era of great maestros. She is unmatched for podium presence, projecting an assured authority that has an uncanny. almost mesmerizing effect.
What the 48-year-old Mälkki does bring is, first and probably foremost, the ability to create viscerally arresting performances.
But the main thing with Mälkki, who is music director of the Helsinki Philharmonic in her native Finland and former music of the Paris-based Ensemble Intercontemporain, is not that she brings something foreign to, or lacking in, the L.A. Phil. More to the point is how much a natural she is for this versatile and venturesome orchestra.
This is music that these Finnish musicians will have played countless times, yet under the baton of Susanna Mälkki, who became the orchestra’s chief conductor only last year, they brought a freshness and enlightenment – it’s one of those rare pieces that seems to invite new insight with every performance."
Mälkki led an expansive performance of the concerto and Chamayou was in fine control of both its florid and rhetorical material, playing with efficiency and expressiveness.
Last week Ravinia hosted another celebration of sorts for Finland: a pair of concerts featuring the music of Sibelius led by one of Finland’s hot exports: the fabulous conductor Susanna Mälkki. I caught the second of these concerts on Friday and found it to be a truly splendid evening.
With her regular CSO appearances downtown, Susanna Mälkki has become a Chicago favorite in recent seasons. In the final of her two consecutive Ravinia programs this week, the Finnish conductor led her first local performance of a Sibelius symphony. And Friday night’s grand and impassioned performance of the Symphony No. 2 showed once again why Mälkki is among the most exciting and illuminating of CSO podium guests."
Conductor Susanna Mälkki’s appearances with the Chicago Symphony Orchestra in recent years have received considerable kudos from critics and audiences alike ... The orchestra under Mälkki’s firm hand was in top form, even with many principals taking the night off."
Finnish conductor Susanna Mälkki led the CSO in an eclectic program. The evening opened with Bizet’s first symphony, the Symphony in C Major, a work written when he was only 17 years old. It is not as polished as his later compositions, but is full of youthful vigor and appeal, which Mälkki emphasized throughout. The orchestra reacted well to her leadership, creating a jaunty feel in the first movement and drawing energetic contrasts. The Adagio had mezmerizing oboe work, creamy violins, and suitably restrained pizzicatos throughout the strings. This was followed by sunny, dance-like music in the third movement. The finale was performed at a wild and scurrying pace that never forfeited clarity. Mälkki and the musicians maintained a fun sense of urgency right up to the moment of the exciting conclusion.
The Chicago Symphony Orchestra’s penultimate program of this season is a decidedly offbeat potpourri: a world premiere, a pair of French cornerstones, and a saxophone soloist equally at home in the realms of jazz and classical music ... the results were largely successful with Susanna Mälkki, one of the CSO’s most reliable guest conductors, in charge on the podium."
Moreover, in moments including the priceless gap between the music stopping and the audience monolithically rising to its feet, a badass woman named Susanna Mälkki wielded her suspended baton in a nameless space that she — singularly and securely — owns.
"What Mälkki adds to the mix, though, is a gift for rhetoric that is at once sinuous and mathematical — an aural correlative to her clipped but balletic podium technique. Marking time in sharp-edged downbeats while eliciting fluid phrasing from the orchestra, she’s a swaying, swirling martinet."
Women have little to say in this world; the opera fails the Bechdel test. That makes the presence of Susanna Mälkki on the podium doubly fortuitous. Her command is formidable, her clarity gives the evening form and momentum."
... musically ravishing, with music that pulses and throbs and crests, particularly well rendered on Saturday night by conductor Susanna Mälkki."
Something else struck me about the apparition of “L’Amour de Loin” at the Met. Listening to the second performance, on December 6th, I thought, What is different? And I realized that the Met had never presented a contemporary score so steeped in European modernism ... To hear the Met players revelling in these sounds, under the inspired direction of Susanna Mälkki (alas, only the fourth female conductor in the company’s history), was one of the year’s great sensations. May it soon be repeated.
... musical standards remained lofty. Susanna Mälkki, making her house debut, conducted with verve that never precluded accuracy ..."
"In addition, Thursday’s performance was the Met debut of the brilliant Finnish conductor Susanna Malkki, who becomes, amazingly, only the fourth woman to take the podium in the company’s history … This production is lucky to have the impressive Ms. Malkki conducting. All the modernist sonorities and layered strands in this dense, complex music come through. She is excellent at animating the buzzing, frenetic riffs and fleeting ostinatos that ripple through the score. It was only last year that this charismatic conductor, then 46, made her auspicious New York Philharmonic debut. The Met must have her back as often as possible.”
Yet the opera is filled with action: The constantly changing psychological and emotional states of the characters, as they struggle with the ideal and the real, are exquisitely limned in Ms. Saariaho’s sensual music. This dynamism was front and center, expressed musically by the superb Metropolitan Opera Orchestra, under the expert leadership of Susanna Mälkki in her house debut. (This, too, was a milestone in the breaking of glass ceilings—she is only the fourth woman to conduct at the Met.)"
Nothing would kill this opera deader than a clumsy conductor; fortunately, Saariaho’s fellow Finn Susanna Mälkki summons the score’s swells and undertows with Poseidon-like powers. In this first Met engagement — as in her New York Philharmonic debut last year — she proves herself an indispensable marvel, drawing clarity and brilliance from the score’s complexities."
"The excellent Susanna Mälkki made her Met debut in the pit. Unlike most opening nights, there was never a hint of dispute with tempos between singers and orchestra, and the conducting revealed every detail in the score and maintained impeccable balances within the orchestra and with the singers. The Finnish conductor was received as rapturously by the audience as the singers ..."
Perhaps the most memorable part of this evening was the palpable sense of joy that was radiating from the stage.
Mälkki has an uncommon ability to create the appropriate sound picture around every score she conducts.
Under Malkki’s baton, the whirling finale was diamond-bright.
Mälkki’s presence on the podium ensured an overall level of unanimity and balance, with big, shapely orchestral textures and crisp but fluid rhythms.
The result is a thrilling bit of gladiatorial combat, and Mälkki and the orchestra delivered it with abundant power and precision.
Mälkki brought clarity and polish to this performance.
... never has it sounded to me more like a total masterpiece than under Mälkki’s magnificent baton.
Whether in the brisk forcefulness she brought to Mars or the frigid stillness she found in the Saturn movement, this was a strikingly strong and fresh performance.
Susanna Mälkki made the Cleveland Orchestra sound like a shinier, more transparent version of its usual self ...
... it was fascinating to see how expressively Mälkki sculpted and coaxed the music with her flowing, graceful movements.
Ms. Mälkki showed that Strauss, Debussy and Messiaen were demonstrating their skills more than they were testing them in these early pieces, creating music that is confident and deep rather than shallow or brash. Her gripping, polished accounts of the two Strauss tone poems showed them fully formed and forward thinking ...
When Susanna Mälkki made her Los Angeles Philharmonic debut in 2010 it was hoped — at least by me — that the Finnish conductor would be invited back to show what she could really do. She was. And Sunday afternoon in Walt Disney Concert Hall, she did … Brahms’s Fourth Symphony was a knockout …
Finnish guest conductor Susanna Mälkki combined graceful precision and fiery energy throughout the program.
...there's no question that Mälkki can invest anything she touches with persuasive grandeur ...
Mälkki, music director of Ensemble InterContemporain, managed to not only pull off each work on this demanding program with striking success but sparked the CSO to some of their finest playing of the year.
Mälkki conducts without a baton and respects transparency. Her rhythmic gestures are precise and energizing.
Mälkki’s foundation was a rhythmic energy that constantly percolated underneath the musical surface, producing an unusually fresh rendition of Beethoven’s Fourth Symphony.
Mälkki's handling of Ravel's mordant choreographic poem deserved the most hearty clap.
Finnish conductor Susanna Mälkki is an elegant presence on the podium; tall and commanding, she combines strength and decisiveness with balletic grace and expressiveness that hold the eye as her music-making holds the ear.