davidgarrettluxembourgrehearsaleva2b
portuguese chineseflag2
usa ukflag frflag german spanish
itflag
biography discography 
concerts press fans contact forum
introduction gallery links guestbook
1-2-3-4-5-6-7-8-9-10-11-12-13-14-15-16

- FANS' NEWS - 8 -

click on the date to read the article

JUNE 2009

I was dizzy with delight when I heard you in concert on the PBS special, 24th June UK2

Es war ein absoluter Traum!22nd June UK5 D6

David Garrett – pure classical, seriously popular, 6th and 22ndJune UK6

Saarbrucken: It was a mixed concert, 14th June UK1 D1

an open-air-concert with outside influences! UK:Hampton Court Palace, 6th June UK8 D7

MAY 2009

Cologne: Is this the future of classical music ? 31st May UK9 D4

 

31st May 2009

Germany - Cologne

UK7

David’s concerts in Dusseldorf and Cologne with Milana Chernyavska

Going to a David Garret concert is a very different kind of classical experience and one which is proving to be outstandingly successful in his homeland, Germany. He raises questions about what is crossover and what is popular classical music.

David has said so often that he wants to encourage new people to go along to classical concerts and he is managing to pack concert halls even with highbrow musical choices, night after night even in these days of financial difficulty and depression.

His audiences applaud and shriek wildly in between the movements and whoop and yell in appreciation. He dresses in deliberately fashionable scruffy gear and lounges sexily on a stool rather than standing in ceremony as he approaches the classical works of his violin repertoire.

The evening begins with his “signature tune”, the “Flight of the Bumble Bee” but not at full speed as there is no new world record at stake. It sets the tone – relaxed and not at all serious. The audience are asked not to take photos or to film, but they do and it is all part of the occasion.

He chats, charms and jokes with his adoring fans as he flirts through light-hearted introductions, aiming to make his world accessible.

He has attracted youngsters, many with violin cases or programmes to sign.  He has not lost the subscription audience who seem to be having fun in this new kind of experience. It is casual – people wander in and out and nobody glares when people cough and shuffle. There are new enraptured females in the latest fashion who may or may not hang on in there in this classical world. Dashing to the artist entrance before and after the show, they write adoringly on the internet websites, commenting as much on his body as on the bliss of the music.

Is this the future of classical music ? Is this a way in which crossover work can help keep the classical composers alive.

There is no question of a lack of quality. In the concert hall in Dusseldorf, David seemed to be thrown a little when the applause between the movements of the Cesar Franck Violin Sonata went on – and on.  He did appear to find it harder to regain his composure and the mood. It was not his usual standard but whether it was a product of the new style, I could not work out at the time. He made more mistakes and I was very upset to be honest.

Two days later, in front of an audience who whooped and cheered a little less but who were just as appreciative, he had no such problem. In Cologne he was magnificent. I have heard other violinists such as Joshua Bell and Christian Tetzlaff perform this marvellous work but David’s gentle emotion and haunting quality of tone took this work to new pure classical heights.

In Dusseldorf, the mood was lost;  in Cologne it was enhanced.

David actively encourages his audience to respond at every opportunity. He brandishes the bow in triumph whenever there is a pause in the works – and in Dusseldorf  I felt very uneasy. I didn’t want to clap in the middle of this moving and pensive work. But I felt almost obliged to clap and guilty for not joining in the hysteria !!!!! I am used to sitting and responding quietly to the mood before the soloist moves on.

The Cesar Franck sonata in Dusseldorf was transformed into a series of separate sound bites and the audience were happy. However, I am used to the magic of this very special work that Franck dedicated to Ysaye. Personally, although I enjoyed the evening as a spectacle (and what a spectacle) I was quite disappointed to lose the power of this work which has long been a favourite in my family. A virtuoso of David’s calibre can do better than this.

Two days later he did. Cologne was a triumph.

David moved into work by Sarasate – his natural home, where he can flash the fast pieces and make most use of his eyelashes and devil violinist tricks. He should seriously consider recording the complete works of this soul mate. The entertainer, the passionate communicator - it is made for him.

During the first concert, I felt that the Grieg sonata also suffered from this highly unconventional interpretation.  David announced that the second movement was one of the greatest pieces in the violin repertoire. When sandwiched between riotous applause, it loses some of this romantic beauty. I have heard him play this piece so well, without lapses of tone and kicking his stool.

But in Cologne, David’s professional concentration had returned. He was masterly and the Grieg can rarely have been performed with more charm, understanding and skill. Milana was an equal partner in this and to her credit, she had not slipped from her high standard in Dusseldorf either.

To follow, and conclude the main advertised programme, David chose another Sarasate classic, “Zigeunerweisen” which he remarks he has played for 20 years. David’s version of this is normally the definitive interpretation. He soars above Kennedy and even Perlman. During the first concert, he lacked some of the sparkle of his usual performances but that could have been because he has been in a different German city every day for some time and the strain was beginning to tell. For Cologne, he turned it on – and sizzled. 

David enjoys his encores and the adulation. The fun of Monti’s “Csardas”, the cabaret act of Paganini’s “Carnival de Venise” and the Brahms “Hungarian Dance Number 5”. He was back to his crossover home.

There is clearly a place in the entertainment world, and money to be made by this variety of classical enterprise. It will be interesting to watch the sales of his forthcoming classical album. He has a fan base to rival Andre Rieu and they may well remain loyal for years to come.

David could be up there with the greatest and deserves to be, but he is taking a huge risk in the name of bringing classical music to a new style of audience and doing it in this unusual way.  Joshua Bell, Hilary Hahn, Lang Lang and Anna Netrebko have perfected the blend of top classical performance with sound commercial success. David could do the same without dangerous compromise.

I wonder how this will translate to the rest of the world.  America, you have a new experience awaiting you. And meanwhile, the recital tickets sell and sell…….

Tabitha

***

Here I am now, sitting in the Kölner Philharmonie after the 7 months wait. I'm really excited, almost nervous. I'm bit worried too, if David is too tired after the long tour and not able to show his best. I'm really looking forward to hear the Franck Sonata live first time in my life. And the familiar Grieg which I love so much. I have heard David play smaller pieces, but I have really waited this opportunity to hear him to play longer works and show his real talent with deeper stories.

They begin with the Bumblebee again as a welcome. David says some words and then to Franck.

A short deep silence for concenration. Milana begins with extremely soft sweet chords and shift us to another world. I can feel the warm soft wind breathing and see the light green trees and hear the boughs and leaves sighing. When the violin begins the clear gentle song I'm sitting in a boat and put my hand to cool soft dark water and feel great happiness. Everything is on it's place. The violin and the piano paint a beautiful landscape for us; clear blue sky, the water and trees, sometimes the light changes bit darker when a cloud passes the sun and then becomes brighter again.

We reach to second movement and the atmosphere changes. More passionate feelings, a stormy melody. These musicians are amazing how they bring the music to life. For this language I don't need a dictionary, everything is perfectly clear. I can understand every sentence they sing for us. Every tone, every little change in the emotions has a clear meaning. When the bow touches the strings it's my heart and soul it touches. I can breath only in sync with the melody. And it's not the air I breath, it's the music and the emotions. They are telling us a deep story. There is pure happiness, longing, deep passion, utmost tenderness, so much love. That strange bliss which feel as sweet aching in your heart.

The third movement ends with most magical feeling. The pure melody from violin is full of passionate yearning, it asks something and doesn't know if it will get that. And the last sentence is just a whispering plea. It ends with extrem, silent longing; the time has stopped, waiting the answer. And then. Crash, boom, bang! The clapping breaks the magical moment into splinters. I knew there was coming the relieving joyful melody which saves everything and answers for the longing, gives the joy, but now the moment has been ruined. Why, oh why! I have to be ripped away from the magical world I was, I want the story to continue. I want the releaving answer. When the fourth movement finally is able to begin, it takes a while to concentrate and get back into the story's world.

But the joyful melody takes me for the journey with it again. It saves me, the longing has get an end. Violin and piano sing together a lively happy melody as a duet. They are discussing in agreement, in great harmony. When the movement and the whole story ends to piano's strong sprint I burst into applause and realize that I'm in love.

Then follows the Tarantella. This is very different atmosphere. Funny, happy and lively. David is joking playfully and get the audience laugh. It's over too soon and we have the interval.

Grieg is fantastic. Again they open for us a wonderful new world, scenery with mountains, icecold clear water in fjords, the small goblins dancing around rocks, the echos rebounding between mountains. And again the clapping between movements disturbs me. When they tells the story so well and I sink so deep into it, I don't want the magic to be broken when the story is not finished.

Zigeunerweisen. The amazing show piece. David is joking again, even flirting with audience, and gets us laughing again. The atmosphere is very relaxed and happy. I think my brother who loves this piece and hope he could be here now.

We get three encores, Czardas (he didn't kneel during "the kneeling part" this time :) ), Hungarian Dance and the Carnival of Venice. Milana acts very well as she wouldn't know what is going to happen with the last one.

Then it's over. I feel oddly shaky and weak. All the strong emotions have got me exhausted. It would take a while to cope from this.

David is unbelievable. There were parts which were best I've ever heard anywhere. He is absolutely one of the best classical musicians there is. And I really prefer his classical side although I have nothing against his cross-over. He just has the opportunity to show his real talent better with bigger works. And Milana is a wonderful pianist. She can find so extremely sweet soft sound but still there is the power when it's needed. And they cooperate so well. Wonderful duo.

”A very special evening”, the title couldn't have been any closer to the truth.

I met some incredibly nice persons during the trip. A huge thank you to all of you. You made the journey unforgetable. *hug*

elise, official forum

D3

Ich hatte das große Glück, dass ich auch noch das Konzert in Köln besuchen konnte.

Eine weite Anreise hatte ich ja nun nicht, höchstens 2 km, zumal ich netterweise wieder mitgenommen wurde.

Das Konzert war einfach nur spitze, David und Milana waren in absoluter Topforum. Die einzeln Stücke wurden mit viel Feingefühl und Emotionen vorgetragen.

Zwischendurch habe ich einfach öfter die Augen zugemacht und nur zugehört. Und in Köln habe ich mich vollends in Francks Violinsonate verliebt,

David hat sie noch schöner gespielt als in Düsseldorf, einfach klasse. Davon hätte ich wirklich gerne eine Aufnahme gehabt. Auch Grieg und Sarasate wurden von den beiden Musikern sehr schön vorgetragen.

Das Kölner Publikum brachte eine super Stimmung mit und wollte die Beiden am Ende des Konzertes ungern gehen lassen, es gab immer wieder Standing Ovations.

Was mich jedoch ein wenig gestört hat (bei beiden Konzerten), war das Geflachse während des Spiels. Zwischen den Stücken finde ich es nicht so schlimm, während des Spiels würde es mir besser ohne gefallen. Das Konzert war auch so locker genug.

Vielen Dank auch an meine netten Begleiterinnen, das war ein superschönes Wochenende mit Euch!

cgn79, official forum

davidgarrettcolognebyelise200905314

***

6th June 2009

Hampton Court Palace

Vivaldi 4 Seasons with the Royal Philharmonic Orchestra

an open-air-concert with outside influences!

UK4

The concert took place in the wonderful old castle "Hampton Court Palace". It rained the whole day and it was very cold. Because of that most of the audience wore winter-clothing.

The concert began with the 3rd Orchestra-Suite of Johann Sebastian Bach, which was played by the Royal Philharmonic Orchestra. We realized that the castle was in the air corridor of the aiport London Heathrow. During the first movement of the Orchestra-Suite a Boeing 747 started the approach to the stage, so that we heard nothing of the concerto for a few seconds....The audience and the orchestra !!! acknowledged this with a laugh..It was such a strong wind, that the musicians hat to fix the music-sheets with clothes pins at their musicstands. Therefore they not only had to turn the pages, they also had to refix the clothes pins, which relaxed the mood in the audience!! lol

After the orchestra-suite of Bach, the orchestra played the Music for the Royal Fireworks of Georg Friedrich Händel. Corresponding to this aircrafts crossed us, sometimes we ddn't know, is there a thunderstorm coming, is it an engine.....or the orchestra....The mood was very relaxed, but this did not touch the playing of the orchestra.

Then it was time for an interval of 90 Minutes. You could have a look in the park and strengthen yourself with a picnic. The queue at the coffee- and tea-bar was the longest, because everyone was chilled to the bones. I am now the proud owner of two blue fleece-blankets, which I bought for my son and me in the interval.

After the interval it was David's turn with the Vivaldi 4 seasons. A lot of the orchestra-musicians were dressed in coats in the meantime, because they were frozen. Also David wore his black hooded jacket over his shirt, to keep himself warm.

 He greeted the audience and said, he thought of playing the winter first and this for 4 times, because it is so cold.....but of course he played the complete concerto in the right sequence. The audience clapped after every movement (I did not know that this is now also usual in the UK..lol). The air-traffic was reduced now because it was already late, therefore only a few sounds of aircraft-engines behind the stage supported his playing.

Between the movements David warmed his fingers and shaked out his shoulders, it was a very strong wind and for sure he felt as cold as the audience. He often had to tune his violin, but he went through with the concert!!! And did this very good.

I have heard him playing the Vivaldi 4 seasons several time, but I cannot say if it was better now. It was different, it was an open-air-concert with outside influences!

David was said good-bye with storming applause and cheers. As an encore he played "Carneval in Venice" of Paganini. After the first part, another aircraft wanted to land on stage, David looked up to the sky and said with a laugh, he first wanted the aircraft to pass and then he will go on.....!!LOL

It was a wonderful concert in a beautiful surrounding. 

D5

David spielte am 06. Juni mit dem Royal Philharmonic Orchestra die Vivaldi 4 Jahreszeiten. Das Konzert fand im wunderschönen, alten Schloss "Hampton Court Palace" statt. Den ganzen Tag hat es geregnet und es war sehr kalt. Deshalb hatten die meisten Konzertbesucher eher Winterbekleidung an.

Das Konzert begann mit der 3. Orchestersuite von Johann Sebastian Bach, welche vom Royal Philharmonic Orchestra gespielt wurde. Wie wir feststellen mussten, liegt das Schloss genau in der Einflugschneise des Flughafens London Heathrow. Im 1. Satz der Orchester-Suite begab sich eine Boeing 747 genau auf den Landeanflug zur Bühne, sodass für ein paar Sekunden vom Konzert nichts zu hören war.......Die Zuschauer und das Orchester !! quittierten dies mit einem Lachen....Es herrschte ein so starker Wind, dass die Musiker ihre Noten mit Wäscheklammern an den Notenständern befestigten. Es wurden also nicht nur die Noten umgeblättert, sondern auch die Wäscheklammern umgesteckt, welches die Stimmung lockerte!! lol

Nach der Orchestersuite von Bach, war die Feuerwerksmusik von George Friedrich Händel an der Reihe. Passend dazu überflogen uns die Flugzeuge und wir wussten manchmal nicht, naht ein Gewitter oder ist das ein Triebwerk....oder doch das Orchester..Die Stimmung war sehr relaxt, was aber das Spiel des Orchesters nicht beeinträchtigte.

Danach war 90 Minuten Pause. In dieser Zeit konnte man in den Park gehen und sich mit einem Picknick stärken. Die Schlange an der Tee- bzw. Kaffeetheke war am längsten, da mittlerweile alle durchgefroren waren. Außerdem bin ich jetzt stolze Inhaberin zweier hellblauer Fleecedecken, die ich für meinen Sohn und mich in der Pause gekauft habe.

Nach der Pause war David mit den Vivaldi 4 Jahreszeiten an der Reihe. Viele Orchestermitglieder hatten sich mittlerweile Mäntel angezogen, da sie durchgefroren waren. Auch David hatte über sein Hemd seine schwarze Kapuzenjacke angezogen, um sich etwas warm zu halten. 

Er begrüßte das Publikum und meinte, er habe sich überlegt mit dem Winter anzufangen und den 4 mal hintereinander zu spielen, wegen der Kälte....aber natürlich hat er das komplette Konzert in der richtigen Reihenfolge gespielt. Die Zuschauer applaudierten nach jedem Satz (wusste nicht, dass das in England jetzt auch so gemacht wird..lol). Der Flugverkehr hatte aufgrund der vorgerückten Stunde etwas nachgelassen, sodass nur ab und zu das Geräusch eines Triebwerkes aus der Richtung hinter der Bühne sein Spiel unterstützte.

Zwischen den Sätzen wärmte David seine Finger und schüttelte die Schultern aus, es herrschte wirklich ein sehr starker Wind und ihm war garantiert ebenso kalt wie dem Publikum. Er musste auch öfters seine Geige nachstimmen. Das Konzert hat er aber durchgezogen!!!! Und das sehr gut.

Ich habe die 4 Jahreszeiten schön öfters von ihm gehört und kann wirklich nicht sagen, ob ich es diesmal besser fand. Es war anders, ein Open-Air Konzert mit äußeren Einflüssen!

David wurde mit großen Applaus und Jubel verabschiedet. Als Zugabe spielte er von Paganini "Carneval in Venice" (Der Hut, der hat 3 Ecken). Nach dem ersten Teil wollte nochmal ein Flugzeug auf der Bühne landen, David schaute nach oben und meinte lachend, er lässt das Flugzeug jetzt erstmal vorbei und dann spielt er weiter.....!!! LOL

Ein wundervolles Konzert in einer schönen Umgebung!!

Birgit

dghamptonbybirgit200906061

***

14th June 2009

Saarbrucken

Es war ein gemischtes Konzert.

D

David spielte bei den Musikfestspielen Saar 2 Konzerte, das Erste fand gestern statt.

Es war ein gemischtes Konzert. Der erste Teil wurde von ihm ganz klassisch mit der Pianisten Milana Chernyavska bestritten, der 2. Teil mit seiner Band!

Die Konzerthalle war das E-Werk in Saarbrücken, eine alte Fabrikhalle. Die Bühne war an der Querseite aufgebaut, sodass viele Zuschauer die Möglichkeiten hatten, David sehr nah zu sehen.

Es war ein heißer Sommertag und  die Halle entsprechend aufgeheizt.

Der erste klassische Teil des Programmes bestand aus er Sonate für Violine und Klavier von Edward Grieg und Introduktion und Tarantella von Pablo de Sarasate. Diese beiden Stücke hat David schon während seiner Recital-Tour im Mai mit Milana gespielt. Diesmal wurden die Instrumente elektronisch verstärkt, was aber den Klang nicht verschlechterte. Ein Lob an die Ton-Techniker, die den Sound sehr gut aussteuerten.

Vor dem Konzert fand eine Begrüßung durch Herrn Leonardy, Direktor der Musikfestspiele statt. Er wies darauf hin, dass normalerweise bei klassischen Konzerten nicht zwischen den Sätzen geklatscht werden soll, aber falls sich die Zuhörer nicht beherrschten können ..lol..wäre das auch ok. Nur fotografieren während des klassischen Teils sei strikt verboten.

David und Milana kamen auf die Bühne und fingen sofort  an, den Hummelflug zu spielen. Danach begrüßte David das Publikum (es waren viele Kinder da) und fragte, wer öfters auf ein klassisches Konzert geht und wer noch nie auf einem klassischen Konzert war.

Danach fingen beide mit dem Programm an.

David und Milana haben die Grieg-Sonate wunderschön ausdrucksstark gespielt. David mit sehr rauhem Ton, dieses Stück erinnert mich  immer an schroffe Felsen und Fjorde in Norwegen....Den 2. Satz spielt er so emotional, dass ich jedesmal eine Gänsehaut bekommt. Dieses ausdrucksstarke, gefühlvolle  Spiel unterscheidet ihn meiner Meinung so sehr von anderen Violinisten und deshalb kann ich von seinen Konzerten nicht genug bekommen. 

Nach der Grieg Sonate fragte David das Publikum, ob wir etwas dagegen hätten, wenn er sein Jacket ausziehen würde. Es war wirklich sehr heiß und er war durchgeschwitzt! Niemand hatte etwas dagegen und David warf sein Jacket auf den Boden ....(schock!! lol).

Dann folgte die Introduktion und Tarantelle  von Sarasate, ein Stück welches erst sehr langsam und behutsam anfängt und dann immer schneller und wilder wird. David's Spiel wurde auf eine riesige Leinwand übertragen, sodass die Zuschauer ganz genau seine linke Hand beobachten konnten. 

Pause.

Danach (David hatte sich ein anderes T-Shirt angezogen) spielte er mit seiner Band. Das Konzert wurde jetzt sehr rockig und auch die älteren Zuschauer gingen richtig mit! Alle waren begeistert. Meine Fotos sind alle aus dem 2. Teil des Konzerts! Es war eine Freude David mit seiner Band spielen zu hören und sehen. Alle schienen sehr glücklich und entspannt.

David musste 3 (oder waren es 4 ) Zugaben geben. Leider weiß ich überhaupt nicht mehr was es war. Es war Czardas und der Hummelflug.....ich hätte es mir aufschreiben müssen.

Nach dem Konzert gab David noch für viele Zuschauer Autogramme!

Danke für den wunderschönen Abend!!

UK

It was a mixed concert

David played his first of two concerts at the Musikfestspiele Saar.

It was a mixed concert. The first part was core classical with Pianist Milana Chernyavska, the second part with his band.

The concert-hall was the E-Werk in Saarbrücken, an old factory building. The stage was built at the lateral-side of the hall, so many people could see him very close.

It was a hot summer-day in Germany and to that effect the hall very "heated".

The first part of the concert was the Sonata for Violin and Piano from Edward Grieg and Introduktion and Tarantella from Pablo de Sarasate. These two pieces David already played with Milana during his recital-tour in May. This time the instruments were electronically amplified, but this did not impair the sound. A big praise to the sound-men, who did their job very well.

Before the concert Mr. Leonardy, director of the Musikfestspiele Saar greeted the audience. He indicated that it is not usual to clap between the movements during a classical concert.But if the audience cannot control himself they can...lol. Taking photos during the first part was strictly forbidden.

David and Milana came on stage and immediately started with the "Flight of the Bumble Bee". Afterwards David welcomed the audience (there were a lot of children) and asked, who is often attending to a classical concert or who had never attended to a classical concert.  

Then they started with their programme. 

David and Milana played the Grieg-Sonata in a wonderfully  expressional way. David with a very rough tone, this always reminds me of harsh rocks and fjords in Norway.....the second movement he played so emotional, I always get goosebumps. His emotional, expressive playing makes him so different to any other violinist and I cannot get enough of his concerts.

After the Grieg David asked the audience, if we mind if he takes off his jacket. It was really hot und he was sweatened. Nobody had anything against it and David threw his jacket on the floor....(shock!! lol).

Then it was time for the Intruduktion and Tarantella. This piece starts very calm and slow with a fulminant fast ending.

Interval!

The second part David played with his band. The concert now was very rocking and also the older people in the audience like it! Everybody was thrilled. My photos are from the second part of the concert. It was joy to hear and see David with his band. Everybody seemed happy and relaxed.

David had to give 3 (or was it 4) encores. Unfortunately I cannot remember which piece it was. I still have Czardas and Flight of the Bumble Bee in my mind..I should have written it down. 

After the concert David gave autograph to hundrets of people.

Thank you for the wonderful evening!

Birgit

davidgarrettsaarbruckenbybirgit200906141

***

David Garrett – pure classical, seriously popular –

concerts at Hampton Court (6th June 2009) and at the Deutsche Oper, Berlin(22nd June 2009)

UK3

David Garrett is proving tremendously popular in his homeland, Germany, and is rapidly gaining the same kind of enthusiastic following when he appears in other countries.

Hampton Court Palace was a wonderful venue for David, when he played the Four Seasons on June 6th.  It was a freezing cold evening, and we were so close to the Heathrow flightpath that we were regularly disturbed by low flying planes.

But none of this dampened the sheer magic. David had joked that he ought to just play “Winter” four times, but he certainly did not let the adverse conditions have any impact on his exciting performance. The orchestra clearly enjoyed it all as much as we did, and everyone was happy for him to give several encores, including the Paganini “Carnival de Venise”. This piece is very well known in Germany and it received a rather more gentle response in the UK – but nevertheless, it showed his pure virtuosity and his relaxed and laid back style of entertainment.

Three weeks later, I was lucky enough to visit Berlin, where I also went along to “Tosca” and to the Sir Simon Rattle concert with the Berliner Philarmoniker at the Waldbuhne. Both of those were spectacular evenings that will long remain in my memory and in my heart. But up there with those greats was David Garrett himself, performing with the Orchestra of the Deutsche Oper,and clearly continuing to steal hearts as he introduces a whole new audience to classical music.

It was a completely straight classical event – except that it was sold out and there was the buzz of excitement as people arrived in their hundreds, relaxed and ready for a seriously wonderful evening’s entertainment.

The audience was very mixed – lots of young children (many of whom were enthusiastic students of the violin) with their grandparents, lots of women of a certain age who David continues to attract, and alongside these, very happily, was the traditional classical concert audience.

The conductor was Yves Abel, a wonderfully passionate interpreter of French classics, and the evening started with the overture from Herold’s “Zampa”. This is a fast and furious piece anyway, and it was a rip-roaring start to a great core classical evening.

David arrived on the stage, to a tremendous welcome, and gave a wonderfully moody and melancholy performance of the “Poeme” by Ernest Chausson. This is a moving and delicate piece which was the perfect foil for David’s gentle brilliance. His light touch, his depth of emotion came through and, although this is not an obvious work for a first visit to a classical concert for some, he totally captured the audience. We were all “blown away”.

His second piece was a violin favourite, the Meditation from the opera “Thais” by Massenet. I have heard this played so often and so well, but I have never been as moved as I was by this concentrated and intense interpretation. David was made for this kind of emotional outpouring and he took the gentle melodies to new heights.

Only two encores, sadly, but they were super. He chose the Bach “Sarabande” which he played magnificently. He has often said how much he loves this work and you could tell that he was at his happiest introducing it to people who may not, without him, have experienced it.

And his final piece was the Paganini again, the “Carnival de Venise”, which was a huge success with the audience who knew it so well and enjoyed the freshness of this new, fun interpretation.

During the interval, David was in huge demand. The queue to have anything and everything signed stretched round the full expanse of the foyer. Apparently, it wasn’t only CDs that people were offering to his pen – bare arms were popular I heard. Even in an extended interval, it was not possible for everyone to get the autographs and there was an announcement that David had to leave for the airport.

But the happy mood stayed.

The final piece, the unusual Symphony written by Cesar Franck was a beautiful ending to a perfect evening. It was sad that some of the fans did not stay, but for those of us who were swept on a classical fever, it was a wonderful finale.

David is gaining such popularity in the USA now, with the release of his new album “David Garrett” that we may have to put up with fewer concerts. Sadly, he has none planned at the moment for the UK. We must just pray and hope that will change.

We need more – and more – and more – of this exceptional virtuoso.

Tabitha

***

22nd June 2009

Berlin

Es war ein absoluter Traum!

D2

David spielte mit dem Orchester der "Deutschen Oper Berlin" und dem jungen Gastdirigenten Yves Abel!

Auf dem Programm standen die Ouvertüre von Louis Joseph Ferdinand Herold (Die Marmorbraut),

Poeme von Ernest Chausson und von Jules Massenet aus der Oper Thais die Meditation.

Nach der Pause die Symphonie in D-Moll von Cesar Franck.

Ich habe lange nicht mehr so ein tolles Konzert erlebt, welches mir wirklich von vorne bis hinten gefallen hat. Allein schon die Ouvertüre war ein Traum, das Orchester spielte sehr, sehr gut und motiviert, der Dirigent Yves Abel ist grandios und man merkte dem Orchester an, dass sie Spaß hatten "unter" ihm zu spielen.

Dann kam David auf die Bühne. Er spielte ein rein klassisches Programm und ich war so froh darüber! Es war ein absoluter Traum. Er war brilliant, er hat die Poème so ausdrucksstark und gefühlvoll gespielt, es war so faszinierend ihm zuzuhören.

Danach eines meiner Lieblingsstücke, aus der Oper Thais die Meditation von Jules Massenet! Dieses Stück hätte er 5 mal hintereinander spielen können, es wäre immer wieder schön gewesen. So emotionsvoll, so zart und voller Gefühl. Ich hatte eine Gänsehaut.

David bekam tosenden Applaus, auch der Dirigent war begeistert von ihm. Er gab 2 Zugaben, erst die Sarabande von Bach und danach Karneval in Venedig von Paganini (der Hut, der hat 3 Ecken).

Danach war Pause. David's Autogrammstunde wurde vom Ende des Konzerts in die Pause verlegt, da er noch zum Flughafen musste. Er hat unermüdlich Autogramme geschrieben, es standen Hunderte Zuhörer an. Die Pause wurde extra verlängert.

Nach der Pause spielte das Orchester die wunderschöne Symphonie in D-Moll von Cesar Franck. Leider verließen einige Zuhörer den Saal, die wohl nur wegen David gekommen waren. Schade!!

UK10

David playes with the orchestra of the "Deutsche Oper Berlin" and the young guest-conductor Yves Abel!

The programme was the orchestra-ouverture "Zampa ou la Fiancee de Marbre) from Louis Joseph Ferdinan Herold.

The Poème of Ernest Chausson:

The Meditation of the Opera Thais from Jules Massenet and after the interval the Symphonie in D-Minor of César Franck.

It was a long time ago that I have experienced such a great concert which I loved from the beginning to the end. The ouverture was a dream, the orchestra played very, very good, they were so motivated, the young conductor Yves Abel is absolutely great and you could feel that the orchestra loved to play "under" him.

Then it was David's turn. He played a core classical programme and I was so happy about this. It was an unbelievable dream. He was brilliant, he played the Poème with such an expression and with full of feelings, it was fascinating to listen to him.

After this one of my favourite pieces. The Meditation of the opera Thais from Jules Massenet. He could have playes this pieces 5 times in a row, it was have been great again and again. With full of emotion, so gentle and full of feelings. I had goosebumps all over.

David has got storming applause, also the conductor was thrilled. He gave 2 encores, the Sarabande from Johann Sebastian Bach and Carneval de Venice of Paganini.

Then it was time for the interval. David's autograph session was rescheduled from the end of the concert into the interval, because he had to go to the airport. He tireless gave autographs, hundrets of people waited. They had extended the interval because of him.

After the interval the orchestra played the wonderful Symphonie in D-Minor of Cesar Franck. Unfortunately some of the audience left the concert-hall, because they just came to see David. What a pity!!

Birgit

davidgarrettberlinbytabbi200906226

***

I was dizzy with delight when I heard you in concert on the PBS special, "David Garrett in Berlin."  It was superb!  It was like Paganini reborn.  I hope to purchase tickets when you perform in Los Angeles in October.

Much more success, and thank you for the music!

Veronica H, 24th June

⬆"
_____________________________________________________________________
This website content may be used if you quote your source:
www.david-garrett-fans.com
Official International Support Page
biography discography 
concerts press fans contact forum introduction gallery links guestbook