Marco Guidarini

Marco Guidarini
Selected Reviews
Falstaff at Teatro Colon, Buenos Aires: November/December 2010
“The conducting of Marco Guidarini was very neat and great care was noted in the co-ordination…
after that last scene, with repentances, marriages and moralising, the applause intensified and the audience showed, finally,
their satisfaction.” – Pablo Kohan, La Nacion
"Cyrano di Bergerac", Teatro de la Maestranza, Seville - November 2009
“El maestro Guidarini, director en las funciones del Festival de Montpellier, nos presentó una lectura de la partitura….con la
justa dosis de intensidad en cada cuadro; encontrando el equilibrio entre foso y escena que tan necesario es en coliseos como el
Maestranza, sacó de la Sinfónica de Sevilla deliciosos momentos. No fue así con el coro, que parece entrar en la dinámica de ir
mejorando a medida que avanza la temporada.” – Pedro Coco, El mundo classico
“As at Montpellier, the musical direction was in the hands of Marco Guidarini who repeated his excellent reading of the score. It
is clear that Mr. Guidarini knows the opera very well indeed and he also knows perfectly how to conduct with Roberto Alagna on
stage. He drew a very good performance from the Seville orchestra, which is second only to Valencia’s among any opera
orchestra in Spain. The Maestranza Chorus was a disappointment however, too rigidly static on stage, short of vocal strength
and with poor French diction.
The theatre had some empty seats but the audience offered a very warm reception to the artists, with great enthusiasm and
cheers to Roberto Alagna, and almost as many for Nathalie Manfrino. Jorge de León and Maestro Marco Guidarini were much
applauded too.” – José M Irurzun, Seen and Heard
Ovación final
“Marco Guidarini concertó con brío…la intensa y prolongada ovación final, ya a medianoche. Un éxito claro.”
– Gonzalo Alonso, La Razon
Debut at La Scala
“...briosi in scena e allineati alla direzione di Marco Guidarini.” – Angelo Foletto, La Repubblica
“Anche il pubblico della Scala di ieri sera ha riso e ha applaudito 'Le convenienze ed inconvenienze teatrali', 'dramma giocoso'
realizzato con la direzione del maestro Marco Guidarini e la regia di Antonio Albanese.” – www.ansa.it
“Il versante musicale, comunque, quest'anno va molto meglio...Marco Guidarini ha ottenuto cose egregie dai ragazzi
dell'orchestra.” – Elvio Giudici, Il Giorno
“Da elogiare quindi il mestiere di Marco Guidarini, non solo perché concerta l' ostica (è il classico finto facile) partitura con
leggerezza e buon ritmo drammatico, ma soprattutto per come sa acchiappare i «dispersi», specie in quei delicati meccanismi a
orologeria che sono i concertati donizettiani. Cantanti da riascoltare...Eccellente la realizzazione dei recitativi al cembalo da
parte di Vincenzo Scalera. Applausi. Incoraggiante successo per l' Accademia scaligera, che li merita per il lavoro ad ampio
respiro che sta facendo.” – Enrico Girardi, Corriere della sera
“Ascoltare l'Orchestra dell'Accademia Scaligera diretta con accurata perizia da Marco Guidarini, con le varieta di colori, la
combinazioni di figure e la spumeggiante fantasia di una musica che cava idee come un finale di fuochi d'artificio...”
– Bernardino Zappa, L'Eco di Bergamo
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Marco Guidarini
Selected Reviews
“...la musica di Donizetti...se allegra, piacevole da ascoltare e ben diretta da Marco Guidarini...” – Pierachille Dolfini, Avvenire
“The orchestra was led skillfully by Marco Guidarini. The performance was successful and the audience cheered…”
– Silvia Luraghi, The Opera Critic
“Il direttore Marco Guidarini ha condotto con apprezzabile equilibrio.” – Paolo Gallarati, La Stampa
Russian Evening at the Opéra de Nice, July 2009
“Ovationné, pas moins de cinq rappels, et presque la larme à l’œil d’émotion, Marco Guidarini a triomphé pour cette soirée russe
à l’Opéra de Nice. Si la municipalité niçoise semble remettre en cause la présence du chef italien, il est évident que ce n’est pas
un avis partagé par le public reconnaissant de l’immense travail accompli par Marco Guidarini à la tête d’un orchestre qu’il a
résolument placé parmi les meilleurs de la région PACA. Le sérieux et la précision de son travail font de chacune de ses
apparitions un succès. La différence avec d’autres chefs venus diriger le même orchestre est flagrante, il suffit de relire les
différents articles de cette saison pour s’en convaincre. Et ce concert non seulement n’échappe pas à la règle mais en est peutêtre le couronnement…
Puissance et profondeur, finesse et émotion, précision et lyrisme, que manquait-il à ce grand moment qui conduit le public
jusqu’au final époustouflant dont le tonnerre d’applaudissements permit à peine à l’orchestre d’arriver au bout de la partition!”
[Trans: “Given an ovation with no less than 5 curtain calls and almost tears of emotion, Marco Guidarini triumphed in this
Russian evening at the Nice Opera. If the municipality of Nice seems to call the presence of the Italian conductor into question, it
is evident that this is not an opinion shared by the public which is thankful for the immense work achieved by Marco Guidarini
at the head of an orchestra which he has resolutely placed among the best in the Provence/Alpes Maritimes/Cote d’Azur region.
The seriousness and precision of his work make a success of each of his appearances. The difference between him and the other
conductors who come to conduct the same orchestra is obvious. It is enough to read the different articles this season to convince
oneself of this. And not only did this concert obey the rule but was perhaps the culmination…
Power and depth, finesse and emotion, precision and lyricism, what did this big moment lack in bringing the public to this
stunning moment whose thunderous applause barely allowed the orchestra to reach the end of the score.”]
– Cyril Brun, Resmusica
Simon Boccanegra, Canadian Opera Company, April/May 2009
“The COC Orchestra was impeccably led by Italian Marco Guidarini, who carefully highlighted the many musical cues in this, a
score that is much deeper than what we think of as the Verdi norm.
…Simon Boccanegra hasn't been seen in Toronto for 30 years. A great production, like this one, makes one want to experience it
more often.” – John Terauds, The Star
“With conductor Marco Guidarini in superb control of the COC Orchestra and juggling the rich score, director Judge stages the
work with impressively effective simplicity that makes for lovely contrast. In seamlessly transforming the COC Chorus, whose
work is interwoven throughout the opera to maximum effect, into the people of Boccanegra's Genoa, he conspires to showcase
the magnificent choral combinations that are perhaps Boccanegra's greatest triumph.
This is a production to be treasured.” – John Coulbourn, Toronto Sun
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Marco Guidarini
Selected Reviews
“But splendid though the designs and direction of this Simon Boccanegra are, they would not spring to life without Verdi's
magisterial score both delicately and propulsively played by the COC orchestra under Marco Guidarini and whole-heartedly,
sometimes gloriously sung by an exceptional cast.
…Hear it all while you can, before it disappears from the COC's repertoire for another 30 years.” – Ken Winters, Globe and Mail
Don Carlos, Den Norske Opera, Oslo, September 2008
“And on the musical side, this performance could scarcely have been bettered. Conductor Marco Guidarini drew idiomatic,
nuanced playing from the pit, and had a secure command over the pace and sweep of the masterpiece…in general the rhythmic
drive was right on the money. While the great duet for Fillipo and the Inquisitor was as brisk as I have heard, what it lost in
gravity it gained in evil menace.” – James Sohre, Opera Today
“Orkesteret la seg som fløyel bak det hele, et sterkt stykke arbeid fra musikere og den drevne operadirigenten Marco Guirdarini.
De fortjener dette huset.”
[Trans: “The orchestra was like a velvet carpet behind it all, an impressive work by the musicians and the highly skilled opera
conductor Marco Guidarini. They deserve this (new opera) house.”] – Olav Egil Aune, Värt Land
“Imponerte. Aldri tidligere har det vært mulig å lytte til en slik bredde i orkestrets strykere. Det muliggjorde en samlet klang der
blåserne kom i forsterkningsposisjon, uten å bryte ut i solistiske innslag fordi rommet ikke tålte klangbredden. Nå lå alt på plass
med saften som finnes i en fortreffelig realisasjon av Verdis instrumentasjon. I dette var kapellmester Marco Guidarini bevisst
tilrettelegger og lydhør medspiller mellom orkester og solister. Koret hadde makeløs bredde og dybde, og i samspill med
solistene og instrumentalistene bidro de til en fylde som tidligere ikke var mulig…”
[Trans: “Impressive. Never before has it been possible to hear such breadth in the orchestra’s strings. This enabled a
homogenous sound where the winds were clear without overpowering, which often occurs in venues with less splendid acoustic.
Everything was now set for a splendid realization of Verdi’s instrumentation. In this the conductor Marco Guidarini was a
conscious and attentive intermediary between the orchestra and the singers. The choir had a unique breadth and depth, and
together with soloists and musicians they contributed to a richness that has previously not been possible.”]
– Idar Karevold, Aftenposten
Anna Bolena, Teatro Massimo, April 08
“...la direzione di Marco Guidarini, che i momenti strumentali carica di espressive tensioni e di drammaticitá e di slancio quasi
ruggente.”
[Trans: “...Marco Guidarini's conducting charges instrumental interludes full of expressive tensions and dramatic impetus.”]
– Sara Patera, Il Giornale di Sicilia
Don Carlos, Opera du Rhin, May/June 06
“What made the evening truly memorable was the conducting of Marco Guidarini, making his opera du Rhin debut. He drew
superb playing from the orchestra, made sure the subtle colours if the instrumentation always came through, maintained an
easy forward flow without ever pushing, and tellingly caught the score’s essential melancholy. This was especially true in his
handling of the quartet in the study scene, and he made ‘Toi qui sus le neant’ the great tragic soliloquy that it is rather than, as
can happen, a long aria holding up the action. Guidarini plainly loves and understands this score. All too few conductors do…
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Marco Guidarini
Selected Reviews
For all the reservations, and there were a few, this young cast, fresh direction and outstanding conducting added up to a most
rewarding evening.” – Rodney Milnes, Opera Magazine
“Marco Guidarini coaxes the Strasbourg Philharmonic to some inspired playing…” – Frances Carlin, Financial Times
“…direction énergique…” – Mehdi Madavi, Altamusica
“Et dans la fosse, la musique est très présente - Marco Guidarini sait faire sonner excellemment le Philharmonique, avec un sens
aigu de la grandeur de l'oeuvre...” – Derniere Nouvelles d’Alsace
“En fosse, la direction de Marco Guidarini ne peut qu’impressionner favorablement, a fortiori quand on connaît les
impondérables de l’acoustique du théâtre de Strasbourg, en général fatale à toute approche trop timorée. Ici, indiscutablement,
l’orchestre passe, les chanteurs ne sont pas noyés, et la cohésion des ensembles assurée. Quant à l’Orchestre Philharmonique
de Strasbourg, il apparaît motivé et à la hauteur du propos. Les chœurs, systématiquement défavorisés par une scénographie
discutable, s’en tirent eux aussi fort bien.” – Laurent Barthel, Concertonet
“Enfin, louons la magnifique direction de Marco Guidarini dont le travail d’un soin et d’une finesse extrêmes à la tête d’un attentif
Orchestre Philharmonique de Strasbourg est absolument fascinant. L’art avec lequel le chef modèle les préludes instrumentaux
et toutes les fins de tableaux pianissimo en portant la musique vers le silence est proprement admirable. Aucun laisser-aller
vers de faciles effets auxquels ce répertoire prête parfois, mais au contraire une grande et rare probité. On pourra parfois
regretter un plus grand impact dans certains fortissimo et certaines articulations, mais ce que l’on gagne en modelé dans le
travail instrumental est sans prix.” – Pierre-Emmanuel Lephay, Forum Opera
“Marco Guidarini… Sa direction est efficace, très lyrique.” – Michel Thomé, ResMusica.com
“En fosse, la direction de Marco Guidarini ne peut qu’impressionner favorablement, a fortiori quand on connaît les
impondérables de l’acoustique du théâtre de Strasbourg, en général fatale à toute approche trop timorée. Ici, indiscutablement,
l’orchestre passe, les chanteurs ne sont pas noyés, et la cohésion des ensembles assurée.” – Laurent Barthel, ConcertoNet.com
Verismo Concert, La Monnaie, Brussels, Dec 05
“Illustrer, de Verdi a Puccini, la naissance du verisme italien sur une periode d’une quarantaine d’annees, tel etait le propos de ce
concert oganise par La Monnaie vendredi. Inviter pour cela un chef italien etait assurement une idée lumineuse, qui nous a
permis de decouvrir a Buxelles le talent de Marco Guidarini, le directeur musical de l’Opera de Nice….
Quel bonheur aussi de gouter, autant par les yeux que par les oreilles, a l’engagement des musicians de l’Orchestre de la
Monnaie, conduits par un chef enthousiaste et inspire. Timbres magnifiquement doses, superbe equilibre d’ensemble et
interventions solistes d’une qualite irreproachable – on epinglera tout particulierement le violoncello de Justus Grimm. Marco
Guidarini a emporte l’adhesion sans reserve d’un public qu’il a conquis par sa presence chaleureuse, mise au service d’une
direction impeccable.” – Michel Debrocq, Le Soir
Pélléas et Mélisande, Opera de Nice, October 2005
“Marco Guidarini a choisi pour sa part une approche intimiste avec des sonorities presque étouffées, sourdes, des couleurs
pastels d’une délicatesse inouïe.” – Christian Colombeau, Forum Opera
“l'Orchestre Philharmonique de Nice soutient la représentation d'un travail de couleur toujours très minutieux et d'un certain
mystère. Marco Guidarini présente une interprétation délicate qui convainc tant par sa grande réserve que par sa conscience de
l'héritage wagnérien de cette œuvre. Plus le dra-me avance, plus il affirme l'expressivité de sa lecture, en salissant certaines
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Marco Guidarini
Selected Reviews
couleurs dans la scène des souterrains, par exemple, comme pour dési-gner les intentions meurtrières qui gagnent alors
Golaud. Enfin, c'est à l'amour d'Arkel (Acte IV, scène 1) qu'il accorde le plus grand lyrisme, signant un choix d'homme de théâtre
et non seulement de musicien.” – Bertrand Bolognesi, Anaclase
Turandot, Opera de Nice, July 2005
“Marco Guidarini… ben congegnata per quanto riguarda la scelta dei tempi.” – Roberto Chiarelli, OperaClick
Salomé, Opera de Nice, May 2005
“Notre admiration culmine au niveau de l’orchestra. Marco Guidarini confirme sa stature de grand chef lyrique international. On
a l’impression, à l’entendre, que le fleuve puissamt de la musique de Strauss a toujours coulé dans la fosse du Philharmonique…
Il se dégage une atmosphère oppressante et tragique qui fait de ce spectacle l’un des plus forts qu’on ait vu ces dernières
années.” – Andre Peyregne, Nice-Matin
“Und das Gewandhausorchester mit Marco Guidarini am Pult setzt sensible Akzente vor allem in den kammerspielartig intimen
musikalischen Strukturen des Werkes wie im innigen, beredten Zusammenklang von Orchester und Stimmen.”
– Gabriele Gorgas, Saechsische Zeitung
“Im Graben zeigt das Gewandhausorchester unter Marco Guidarini und um Konzertmeister Stefan Arzberger schon mit den
unendlich zarten, unendlich hohen, unendlich zerbrechlichen, unendlich schweren Tönen des knappen Vorspiels, dass es Verdi
zum Sprechen zu bringen vermag. Der rustikale Blech-Zauber der Triumph-Szene, die beinahe impressionisti-schen Farben des
Nil-Bildes, die Emphase der glutvollen Streicher-Bögen sind nicht immer beieinander, klingen aber schön. Wenn sie denn
durchdringen. Denn wenn die Sänger nicht gerade lauter sind, sorgt eine Hand voll Bronchialrüpel im ausverkauften Saal fürs
unziemliche Hintergrundrauschen.” – Peter Korfmacher, Leipziger Volkszeitung
“Das Gewandhausorchester spielte klangschoen…” – Gabriele Gorgas, Saechsische Zeitung
Simon Boccanegra recording
“Simon Boccanegra in its 1881 revision is one of Verdi’s great works of confrontation…on record the opera fared well…How then
does this New Zealand performance fare? Very convincingly! It is conducted by Marco Guidarini, who has been garnering praise
of late. He elicits the drama without resorting to exaggeration and is aware of the subtleties of the score. How well the New
Zealand Symphony Orchestra play for him…Anyone thinking of augmenting his Boccanegra collection should be pleased with
this set.” – John T. Hughes, International Record Review
Debut at Metropolitan Opera, New York; 'Rigoletto'
“This season's revival which opened Friday night, is a credible rendition of the tale of love, betrayal and murder - the staple of
Verdi...there were amny moments to enjoy.
Conductor Marco Guidarini meade hos MET debut. While his tempi were a bit slow at the beginning, he warmed up leading a
spirited performance.” – The Associated Press
Leoncavallo’s ‘La Boheme’, Klangbogen Wien, 8.02
“Marco Guidarini erkundete mit dem Radio Symphonieorchester Wien die ganze aestetische Vielschichtigkeit Leoncavallos…”
– Tagesspiegel, Berlin
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Marco Guidarini
Selected Reviews
“Marco Guidarini leitete das RSO Wien mit grosser Praezision…” – Stefan Ender, Der Standart
“In wenigen Takten beschwoerten der Dirigent Marco Guidarini und das Radio Symphonieorchester Wien mit leuchtend satten
Klang ganze Assoziationswelten herauf.” – Rainer Elstner, Wiener Zeitung
“Marco Guidarini am Pult des RSO Wien sehr souveraen und praezise, zeigte Sinn fuer Klang Valeurs und dramatische Spannung
ohne Zuckerguss, Fermaten-Unarten, mit denen Leoncavallos Musik in Konzertshows grosser Tenoere oft enstellt wurde, liess
er dankenswerter Weise nicht zu.” – Heinz Roegl, Salzburger Nachrichten
“Marco Guidarini am Pult des RSO Wien sorgt fuer dramatisch wuchtiges, dichtes, mitunter suesslich getoentes Musizieren.”
– Karlheinz Roeschitz, Neue Kronen Zeitung
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