Dresden Philharmonic
10th May 2003
..."The young Argentinean Andrés Tolcachir stood at
the podium in front of the 70 musicians of the Dresden Philharmonic to devote
himself especially to his great fellow-countryman in Tango matters: Astor
Piazzolla. And he did it with the same devotion as the orchestra played (…)
Highest intensity up to the last tone of “Milonga del Angel”, pure joy of
life in “Tangazo”. (…)
Tango for 3: S.Indris Joner (Piano), O. Hannisdal (Violin)
and S. Haugard (Bass)
Martin Mastik, Guitar
Claudia Codega und Esteban Moreno, Dancers
Introducción al Ángel
A. Piazzolla
*
Zum
A. Piazzolla **
Danzarín
J. Plaza **
La Trampera
A. Troilo **
Desde el Alma
Manzi / Piuma**
Milonga del Ángel
A. Piazzolla *
La Muerte del Ángel
A. Piazzolla *
Orillera
Basil / Pichot **
Estancia, danzas del ballet, op. 8A A. Ginastera
I. Los Trabajadores Agrícolas
II. Danza del Trigo
III. Los Peones de Hacienda
IV. Danza Final (Malambo)
Pata Ancha
Lampunzina / Dominguez **
Double concert for guitar,
A. Piazzolla
bandoneon and strings orchestra
"Homage à Liège"
I. Introducción
II. Milonga
III. Tango
Tangazo, `Variations über Buenos Aires´ A. Piazzolla
Fuga y Misterio
A. Piazzolla **
Tanguera
M. Mores **
Arrangemets : (*) Rolf Gupta
(**) Sverre Indris Joner
by Karsten Blüthgen
12/04/03 Dresden, Germany
The young Argentine conductor performed with the Dresden Philharmonic Orchestra
Dresden-.
"... Andrés Tolcachir (1970) made his debut with the prestigious Dresden Philharmonic, showing in front of an enthusiastic public of almost thousand people his excellent dowries of conductor (peculiarly left-handed), his capacity for a clear and precise beating, and a very good scenic presence that, surely, works as one of his main advantages at the time of rising the podium." (...)
The young Argentine conductor performed with the Dresden Philharmonic Orchestra
Dresden-.
"... Andrés Tolcachir (1970) made his debut with the prestigious Dresden Philharmonic, showing in front of an enthusiastic public of almost thousand people his excellent dowries of conductor (peculiarly left-handed), his capacity for a clear and precise conducting, and a very good scenic presence that, surely, works as one of his main advantages at the time of rising the podium." (...)
The rehearsals were very well planned, you managed to set a perfectly structured rehearsal schedule which eliminated any kind of stress from the beginning onwards. There was enough time for everything and the concert sounded indeed "very well rehearsed".
Your noble appearance on stage was convincing and could communicate the trust that the orchestra had put in you as a person and you as a conductor.
I followed closely your interaction with the fabulous soloist, the cellist Boris Andrianov, who - as one could see - was very well taken care of by you. There was never an unnecessary tension or gap between soloist and orchestra due to your well defined and anticipating way of conducting.
When artists like you and Boris Andrianov appear in a series such as this one, you help us build up further reputation and finally, it makes very much sense to keep this series running.