Premiere Die Meistersinger von Nürnberg – Teatro Real

The Meistersingers of Laurent Pelly and Pablo Heras-Casado come to the Teatro Real
Scherzo

From April 24th to May 25th, the Teatro Real offers 9 performances of Wagner’s The Master Singers of Nuremberg in a new co-production with stage direction by Laurent Pelly and musical direction by Pablo Heras-Casado.

Increasingly linked to the Wagnerian repertoire, Heras-Casado conducts his sixth Wagner opera at the Teatro Real after The Flying Dutchman (2017) and Tetralogy (2019-2022). The vocal cast will be led by Gerald Finley (Hans Sachs), Leigh Melrose (Sixtus Beckmesser), Tomislav Mužek (Walther von Stolzing), Jongmin Park (Veit Pogner), Nicole Chevalier (Eva), Sebastian Kohlhepp (David) and Anna Lapkovskaja (Magdalene). The Coro Titular del Teatro Real will have 112 singers prepared by José Luis Basso.

Heras-Casado at the helm of the Orquesta Sinfónica de Madrid

MADRID / Pablo Heras-Casado and Bruckner’s Fourth: Etching painting
Scherzo

A new confrontation of the ubiquitous, kaleidoscopic, versatile, highly skilled and prepared Pablo Heras-Casado with the music of Anton Bruckner, this time, after the Ninth a couple of years ago with the same orchestra, the most popular Fourth, the so-called ‘Romantic’. […] A symphonic design very well understood by the conductor from Granada, who knew how to provide the means for all this material to be worked with order and fantasy.

Pablo Heras-Casado on the Spring Festival – Lucerne Festival

Lucerne Festival: And then a volcano erupts
NZZ 
(Neue Zürcher Zeitung)

On Palm Sunday, Pablo Heras-Casado appeared in front of the same musicians and brought the 7th Symphony to eruption; the Spaniard has been the talk of the town since his Bayreuth debut in 2023 with Wagner’s “Parsifal”. In his repertoire, he pursues a rather unusual two-pronged approach: as an expert in both historical performance practice and contemporary music. You can even hear this dual perspective: the crystal-clear articulation, the precise use of vibrato, the flowing but never hasty tempi – all of this stems from the original sound movement. (…) For the LFO, this is a new sound in such an exaggerated form – all the more so as Heras-Casado not only looks back in a historicizing way, but also works out the modernity of this most radical of all Beethoven symphonies.

Munich Philharmonic Orchestra New Year’s Eve concerts

Unknown Destination Ahead: Beethoven’s Ninth with Pablo Heras-Casado
Merkur

With Beethoven’s Ninth, Pablo Heras-Casado makes a powerful impact with the Munich Philharmonic Orchestra. However, what he exactly wants to achieve with the work is not entirely clear at the turn of the year.

Stylistically, the man knows no taboo. Pablo Heras-Casado conducts just about everything from the Baroque to the 21st century. This is impressive and also clever, as the Spaniard utilizes the experiences of the ensembles he engages with. From the Freiburg Baroque Orchestra, from the Concentus Musicus Wien, from the Ensemble Intercontemporain for modern works, and last summer, for Wagner’s “Parsifal”, with the Bayreuth Festival Orchestra.

Premiere Le Grand Macabre, Ligeti – Wiener Staatsoper

Apocalypse can be so colorful!
BR Klassik

It is the only opera by György Ligeti, but there is a whole world in it: “Le Grand Macabre” is a cornucopia of musical ideas. And they come into their own fantastically in the new production at the Vienna State Opera.

[…] In Vienna, Pablo Heras-Casado holds all the strings, ropes and occasionally choppy cables of the score together perfectly, the music is brilliant, and the Slovak Philharmonic Choir delivers precise vocal hullabaloo (rehearsed by Jozef Chabroň).

Triumphant debut by Pablo Heras-Casado

BR Klassik 

TRIUMPHANT DEBUT BY PABLO HERAS-CASADO

Conductor Pablo Heras-Casado masters the difficult acoustics of the Festspielhaus right from his debut. What more famous conductors have failed at time and again, he succeeds at once: that orchestra, singers and even the fantastic choir really breathe together. It seems almost paradoxical: although Heras-Casado chooses fast tempi, the music never seems driven. For long stretches, this is fascinatingly slow, solemn music, which, however, flows as if through a natural inner gradient. Wagner’s refined sound mixtures are finely sounded out, the phrases speak – even in the orchestra, the climaxes lead to the goal. Who needs glasses?

SWR Tour Press Reviews

Stuttgarter Zeitung/ Backnanger Kreiszeitung.

On 25 July, the Spaniard will make his Bayreuth debut on the podium at the start of the Wagner Festival with “Parsifal”. Now he will fire up Mendelssohn’s sounds: This music has freshness, power and emotion. And emotion. […] Igor Stravinsky’s Symphony of Psalms (1930) is also very rhythmic, with a strong emphasis on the winds. The high strings are free here, and the great emotions pause with them. At the end, however, Pablo Heras-Casado lets them in through the back door: In the first two psalms, which are more about proclamation than internalisation, the SWR vocal ensemble declaims and intones flawlessly. The orchestra sets precise accents in the motoric forward stride.

Schubert: Symphonies Nº. 5 & 7 “Unfinished” Reviews

NDR Kultur Album of the Week: Pablo Heras-Casado conducts Schubert by Chantal Nastasi

The Spanish conductor Pablo Heras-Casado and the Freiburg Baroque Orchestra have already won several awards together. With their new Schubert recording, they succeed in creating a lively interpretation.

Festspielhaus Baden-Baden Press Reviews

‘Raising expectations’ – Review by the Badische Neueste Nachrichten.
by Isabel Steppeler.

Bewitching “Parsifal” Finale with Pablo Heras-Casado at the end of the Pfingstfestspiele.
An exclamation mark at the end: The Pfingstfestspiele with the SWR Symphony Orchestra in Baden-Baden came to an end on Sunday with moving sounds. As at the opening, Richard Wagner’s work was the focus of the last concert: the prelude and the third act of his consecrated stage play “Parsifal” developed a beguiling effect in Pablo Heras-Casado’s sensual and analytical interpretation.

Freiburger Barockorchester Tour Press Reviews

Kölner Stadtanzeiger
Soundtrack for a summer night.
“[…] The threads of the performance, which was magnificent in every respect, came together under the Spanish conductor Pablo Heras-Casado, who had already given Franz Schubert’s “little” C major symphony a striking profile: a perfectly balanced interplay of different movement patterns, a graceful dance of lace, which was interrupted every now and then by cheerfully booming canon salvos.”

‘Il ritorno d’Ulisse patria’ Press Reviews

BR Klassik
Three completely different theatrical manuscripts on stage, held together in the pit by the Concentus Musicus Wien under Pablo Heras-Casado. He has already shown in previous productions that minimalism is not his thing: sonority and a joyfulness of colour reign supreme.

BADAJOZ / El ‘Parsifal’ de Heras-Casado

Scherzo

(Music review in Spanish). “…En sus manos, la orquesta cantó y dialogó con las voces con naturalidad. Contó para ello con una Orquesta de Extremadura, debidamente reforzada con miembros de la formación joven, que ofreció un empaste admirable. Las cuerdas sonaron con sensualidad cuando arroparon a Kundry, por ejemplo, y con pleno brillo a todo lo largo de los dos días en que se dividió la interpretación de esta ópera y cabe asimismo alabar la calidad de las prestaciones de los metales y maderas, plenamente empastados con un sonido global rico en matices…”. Por Andrés Moreno Mengibar.

Load more