Reviews

Anthony Gabriele is an orchestra conductor who dominates the nuances, who understands the orchestra and knows how to feel it, who knows how to convey to each instrument and performer its meaning, and give confidence and integrate his/her contribution in a wonderful way with the rest of the orchestra, without forgetting a nuance, that contributes to the global sensation. And with the work of Bernard Herrmann, fascinating, intoxicating, subtle, magical, and above all, complicated, extremely complicated, that is not an easy task.
However, the performance echoed excitingly, bringing us into the mind of John “Scottie” Ferguson, just as the composer modelled, rising us from our seats in his ascension dominated by the Vertigo, to the tower of the Spanish mission, freezing our breath with the Kiss between Madelyne and Scottie while the central theme explodes for the first time in all its glory, with a string section combining power, lyricism, and dramatic tension in an unusual balance.”

Anthony Gabriele es un director de orquesta que domina los matices, que comprende a la orquesta y la sabe sentir, que sabe trasladar a cada instrumento e intérprete su importancia y dotarlo de confianza e integrar su aportación de forma maravillosa con el resto, sin olvidar ni un matiz, que ni un arabesco se difumine sin aportar a la sensación global. Y con la obra de Bernard Herrmann, fascinante, embriagadora, sutil, mágica, y sobre todo complicada, sumamente complicada, eso no es tarea fácil.
Sin embargo la interpretación resonó emocionante, haciéndonos entrar en la mente de John “Scottie” Ferguson, tal y como el compositor modeló, levantándonos de la butaca en su ascensión dominada por el Vértigo a la torre de la misión española, congelándonos el aliento con el beso entre Madelyne y Scottie mientras el tema central explota por primera vez en toda su gloria, con una sección de cuerda aunando poderosa, lirismo y tensión dramática en inusitado equilibrio.”

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Asier G. Senarriaga

SoundTrackFest, 04/03/2020

“La Orquestra Simfònica Camera Musicae, sin ningún tipo de amplificación, resonó por todo el Teatro Coliseum con una fuerza desbordante y con un enorme control sobre la música de Gershwin, caracterizada por esa mezcla de la orquestación sinfónica europea, el aura de broadway en todas las harmonías y melodías más afines al jazz que a la música clásica. Anthony Gabriele dirigió a la OCM con maestría, logrando un lirismo orquestales y a su vez un sonido Big Band realmente auténticos.”

“The Orquestra Simfònica Camera Musicae, without any kind of amplification, resounded throughout the Coliseum Theatre with an overwhelming force and with an enormous control over Gershwin’s music, characterised by that mixture of European symphonic orchestration, the aura of broadway in all the harmonies and melodies more akin to jazz than to classical music. And Anthony Gabriele masterfully conducted the OCM, achieving an orchestral lyricism and at the same time a truly authentic Big Band sound.”

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Marc Musquera

La Musa Que Era, 17/02/2020

“Selten spielt bei Filmvorführungen mit Livemusik der grosse Raum des Konzertsaals so kongenial mit wie an diesem Wochenende beim Blockbuster «The Beauty and the Beast» aus dem Jahr 2017… Da drehen sich die Bilder kaleidoskopisch und nehmen die Zuschauer mit auf eine visuelle Achterbahnfahrt, die hochzuschiessen scheint zu den Sternen des Konzertsaals und im Sturzflug abtaucht ins Parkett…wobei das City Light Symphony Orchestra unter der Leitung von Anthony Gabriele den Sound immer wieder zu Raserei und ins Ekstatische steigert.

…Menken nutzt zwar rasch und manchmal masslos die bekannten Mittel des Genres, um gewaltige Klanglandschaften aufzutürmen…Auf der anderen Seite aber bietet die Partitur ausgesprochen kammermusikalische Feinheiten. Dass man all das so lebendig hören kann, zeigt, auf welch hohem Niveau an diesem Abend musiziert wird…”

“Rarely does the huge concert hall play such a congenial role in film screenings with live music as on this weekend’s blockbuster “Beauty and the Beast” from 2017… The images turn kaleidoscopically and take the audience on a visual roller coaster ride that seems to shoot up to the stars of the concert hall and plunges into the parquet floor…[whilst]…the City Light Symphony Orchestra under the direction of Anthony Gabriele repeatedly raises the sound to frenzy and ecstasy.

[In his Oscar-winning score]…Menken uses the familiar means of the genre quickly and sometimes excessively to pile up huge soundscapes…on the other hand, however, the score offers distinct chamber-music subtleties… The fact that all this can be heard, so vividly, shows the high level of music played this evening.”

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Urs Mattenberger

Luzerner Zeitung, 04/02/2019

el cinèfil

La Revista De Cinema Xarxa I En Catalá

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Marc Musquera

el cinèfil, 12/01/2019

En Platea

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Diana Limones

Críticas, 24/12/2018

“Mastodóntico concierto de la Orquestra Barcelona en L’Auditori Barcelona con Jurassic Park in Concert, en el 25 aniversario de la épica y tribal partitura de John Williams.

El director fue Anthony Gabriele, a quien tengo el gusto de conocer y considerarlo colega a raíz del concierto de Singin’ in the Rain Live In Concert meses atrás en el Tívoli. La labor de Gabriele conduciendo la orquesta fue espléndida, dirigiendo unos músicos que supieron estar siempre a la altura (cosa nada fácil), bordando el lirismo y orgullo del inicio, con la llegada a la isla con las cuerdas cogiendo todo el protagonismo, para lentamente derivar a frenético final de los velocirraptors con una potencia sonora que ponía los pelos de punta.”

“Mammoth concert of the Orchestra Barcelona in L’Auditori Barcelona with Jurassic Park in Concert, on the 25th anniversary of the epic and tribal score by John Williams.

The conductor was Anthony Gabriele, whom I had the pleasure to meet and consider a colleague following Singin’ in the Rain – Live In Concert at The Tivoli a few months ago. Gabriele’s work leading the orchestra was splendid, directing musicians who always knew how to rise to the occasion (not an easy thing), embroidering the lyricism and pride of the beginning, with the arrival to the island, with the strings taking all the protagonism, to slowly derive the frenetic end of the velocirraptors with a sonorous power that made the hair stand on end.”

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Marc Musquera

La Musa Que Era, 22/10/2018

“Lahti Symphony Orchestra and Anthony Gabriele made Herrmann proud with a stunning concert presentation of Vertigo. Under Anthony Gabriele’s inspired conducting, the tempi, phrasing and orchestral balance were all admirably taken care of, resulting in a performance that would have made Herrmann proud… I felt deeper connection with Herrmann than I’ve ever had with the original soundtrack recording.

I can but express my utmost gratitude to Maestro Gabriele and the Lahti Symphony Orchestra for their marvellous salute to Herrmann. A feast for film music.”

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Jari Kallio

Adventures in Music, 24/08/2018

“Nearly 80 years after its release, there is not a lot left to say about the wonderful The Wizard Of Oz. A classic movie, beautifully crafted from script through to performance, design, photography, choreography and a legendary score.

Until, that is, one has the privilege of watching the movie on the big screen with the score played live by a 64 strong orchestra under the baton of Anthony Gabriele.

Judy Garland et al may be captured, beautifully, in that flickering light beam and one may know the movie thoroughly, but Gabriele truly takes this score over the rainbow.”

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Jonathan Baz

jonathanbazreviews, 14/04/2018

“…Conductor Anthony Gabriele…has an innate understanding of matching the nuance and tempo of a score to performances played out both on stage and screen. [So to]…see Gabriele conduct the London Concert Orchestra in a Valentine’s Evening concert of Movie Classics, was quite the romantic treat.”

“…thunderous applause demanded a much deserved encore…”

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Jonathan Baz

jonathanbazreviews, 25/02/2017

“…Gabriele is one of London’s finest stage-conductors, adept at seamlessly linking an orchestra to the ebb and flow of a live production.”

“[When]…conducting in time to a movie…the imagery and dialog are fixed in time and it is Gabriele’s responsibility to ensure that his musicians maintain pinpoint co-ordination with the screen. It is a massive task and it is a mark of Gabriele’s consummate skill that he makes it look so effortless – and a credit too to the Cinematic Sinfonia for delivering such an immaculately rehearsed sound.”

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Jonathan Baz

jonathanbazreviews, 07/03/2015