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- STAMPA e RADIO - 1/5 - Assomiglia a un top-model, e "cool" come un rock-star e ci incanta colla sua musica classica clicca sulla data per leggere l'articolo troverai una stampa internazionale cliccando qui |
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MAGGIO 2012 L’eternità del violino all’Auditorium, 24 mag FEBBRAIO 2012 Sanremo 2012, David Garrett Simona Atzori e i Nirvana aprono la quarta serata, 17 feb David Garret, il violionista rock che ama Funiculì Funiculà, 7 feb "IMPOSSIBILE NON AMARE LA MUSICA ITALIANA", 7 feb NOVEMBRE 2011 Beethoven rockstar. E la versione di Garrett 30 nov Garrett, il violinsta classico del rock 28 nov Garrett: violino e inedite contaminazioni musicali 24 nov LUGLIO 2011 E il violinista sexy Garrett mescola Beethoven con il rock 13 luglio MAGGIO 2011 Intervista: Il Rock reinventato con il violino 11 maggio MARZO 2011 Quando gli archi diventano Pop-Rock 30 marzo GENNAIO 2011 David Garrett: Il mio segreto? un mix di Bono e Bach 14 gennaio OTTOBRE 2010 L'uomo Vogue: Rock Violinista David Garrett ottobre 2010 ***** 2008 David Garrett, quel violinista è un fuoriclasse, Italia, Firenze, 14 Luglio FEBBRAIO 2008 VIOLINISTA TEDESCO INCIAMPA E DISTRUGGE STRADIVARI 16 febbraio OTTOBRE 2007 Con David Garrett il sigillo del successo , Firenze 7 e 8 ottobre 2007 AGOSTO 2007 DAVID GARRETT, Der Junge mit göttlichem Geigenton, open-air concert, Duisburg, 10th August 2007 DAVID GARRETT - Wie der kalifornische Beach Boy LUGLIO 2007 DAVID GARRETT, "Fresh appeal" INTERVIEW DAVID GARRETT, il violinista che fa impazzire le donne. Quella volta che non ho suonato per Sienna. INTERVISTA Von Allüren nichts zu spüren Poster boy music prodigy 23th July 2007 MANNHEIMER SCHLOSSFESTSPIELE Eine Konzert- Party in Regensburg: "Last Night of the Thurn und Taxis Proms" JUNE 2007 Free from SINGAPORE DAVID GARRETT in SINGAPORE: "Blond Ambition" INTERVIEW David Garrett: Violin Virtuoso -David drops by and talks about hair, break-ins and more! INTERVIEW David Garrett: «Col violino sposo Paganini e i Metallica»
ITALY: "Il bello della musica" intervista ROMA INTERVISTA (live) di David in piena forma David Garrett - Vicenza :"Il bel David è pure bravo e l'Olimpico s'infiamma" "DAVID GARRETT: JEUNE, «FUN», et TALENTUEUX": INTERVIEW "GRANDE SUCCESSO": TERNI "The art of the perfectly beautiful sound." "ecco il «bello» del violino", con un' intervista (live) 21th and 22 th December 2006 - Luxembourg 02th September 2006 - Germany, Wiesbaden, 29th July 2006 -Portugal - Porto, 30th April and First May 2006 -Italy - Florence 11th June 2005: Rio de Janeiro June 2005 -Argentina - Buenos Aires 6/7th September 2004 -Germania - Saarbrucken 05th March 2004 -France - Paris
Johannes Brahms: Doppelkonzert für Violine, Violoncello und Orchester a-Moll, op. 102 Staaskapelle Orchester - Giuseppe Sinopoli
(Peter Zacher dans “Sächsische Zeitung” vom 14. September 1998)
Johannes Brahms letztes Orchesterwerk, das Konzert für Violine, Violoncello und Orchester a-Moll, op. 102, wurde zu einem überwältigenden Erlebnis. Mit faszinierender Intensität gestalteten David Garrett (Violine) und Jan Vogler (Violoncello) den musikalischen Dialog. Aufs Feinste aufeinander abgestimmt warfen sie sich gleichsam die Bälle von Rede und Gegenrede zu oder fanden sich in gemeinsamen Tonfall. So war wirklich jedes Detail genau gestaltet und prägnant ausgeführt. Beide Solisten musizierten dabei das wahrhaft schwierige Werk mit einer bewundernswerten Gelöstheit, ohne jedoch an Ausdrucksintensität und Tiefe zu verlieren. Daß sie ihren kostbaren Instrumenten schwelgerische Klangschönheit entlockten, war sozusagen das Tüpfelchen auf dem I. Eine musikalische Sternstunde war die Wiedergabe des Doppelkonzertes nicht zuletzt dadurch, daß Giuseppe Sinopoli und die Kapelle den Solisten ein äußerst einfühlsamer und musikalisch ebenbürtiger Partner waren. (Eberhard Kremtz)
____________________
“a young violin’s virtuoso: David Garrett. He is young, he is good looking, he plays well, and delighted so much the audience last year than he comes back this year.” http://www.ambfrance.fr/article.php?ida=413
http://www.lyonpeople.com/sortie/p2noftheproms.html
____________________ France, Paris Tchaikovsky, Violin Concerto, Orchestre Philharmonique de Liège - Louis Langrée
(Jean-Charles Hoffelé, 'Concert Classique', 8 March 2004)
(Isabelle Debroux, La Meuse, 8 March 2004)
____________________ Germania, Saarbrucken Johannes Brahms, Violinkonzert D-dur op.77, Saarländisches Staatsorchester - Jiri Kout
Claus Hith http://www.omm.de/veranstaltungen/konzerte20042005/SB-060904.html ____________________ Argentina - Buenos Aires Pianist: Paula Peluso Brahms, Sonata Nº 1 para piano y violín en Sol mayor, Op. 78; Bach, Sonata Nº 1 para violín solo en sol menor, BWV 1001; Beethoven, Sonata Nº 10 para violín y piano en Sol mayor, Op. 96.
...Garrett denotó un conocimiento amplio de la partitura, hubiera sido interesante verlo un poco más acorralado y presionado por el piano para ver cómo resolvían juntos una situación que, en definitiva, hubiera sido mucho más brahmsiana... ...En soledad, Garrett continuó luego con la primera sonata para violín solo de Bach, con una lectura alejada de las distintas escuelas historicistas, con intensidades por momentos románticas y, como siempre, con una afinación escandalosamente perfecta. Su interpretación de la fuga, el segundo movimiento, fue decididamente notable, con sujetos y contrasujetos destacados como si de una verdadera orquesta de varios instrumentos su violín se tratara... ...Con una facilidad increíble, Garrett,... no sólo que asombró con una ejecución extraordinaria e impactante, sino que, además, le agregó pequeñas sonrisas, algún gesto mínimo y miradas furtivas hacia la platea. La ovación fue, como correspondía, atronadora. Con su violín, ciertamente prodigioso, y sus otras y legítimas artes de la comunicación, Garrett conquistó merecidamente a un público que, en parte, lo aplaudió de pie.
…Far removed from the seriousness, severity and the "Germanic" feel of Bach, Beethoven and Brahms, the work by Bazzini is a typical work of Paganiniesque virtuosity. With incredible facility, Garrett did not only amaze with his extraordinary and stunning execution of the work, but, also, added some of the most discrete gestures and furtive looks towards the audience …Garrett deservedly won over the audience and received a standing ovation…
...Bien loin du sérieux, de la sévérité et du sentiment "germanique" de Bach, Beethoven et Brahms, l'oeuvre de Bazzini est typique de la virtuosité paganinienne. Avec une facilité incroyable, Garrett n'a pas seulement étonné par son execution extraordinaire et formidable mais il ajouta même quelques mouvements discrets, quelques regards furtifs vers le public...A juste titre, Garrett conquit le public et reçut une "standing ovation"... Pablo Kohan . http://www.lnol.com.ar/Herramientas/SoloTexto/Nota.asp?nota_id=710902 ____________________ 11th June 2005: Rio de Janeiro: Bach, Sonata in G, op.78, Mozart, Violin Concerto in G major n°3 K216 Tchaikowsky, Violin Concerto Orquestra Petrobas Pro Musica
Crítica do Estado de S. Paulo em 14/6 – de João Luiz Sampaio http://www.petrobrasinfonica.com.br/opes/cgi/cgilua.exe/sys/start.htm ____________________
Otto Joachim: Concertante n°1, Paganini: Violin Concerto n°2 “Campanella” Orchestre de Chambre i Musici - Yuli Turovsky
...l’artiste laisse libre cours aux envolées cristallines, exposant en un savant calcul logarithmique, toute sa dextérité... ..Tel un alchimiste, il impose à son instrument de transmuter la musique en or...”
..the artist gave free way at the crystalline flights of his tones, exhibiting in a erudite logarithmic calculus, all his dexterity... ..Like an alchemist, he imposes on his instrument to transmute music into gold...” (Jacques Hétu, 30/01/2006, http://www.resmusica.com/aff_articles.php3?num_art=2054)
About his interpretation of Paganini:
http://www.latribune.qc.ca/article/20060126/CPARTS/601260549&SearchID=73233845099118
http://www.imusici.com/shared/critiques/Le_Devoir_26_janvier_06.htm
http://www.imusici.com/shared/critiques/The_Gazette_26_janvier_06.htm ____________________ Italy - Florence Violin Concerto in G major n°3 K216 Adagio in E major K261 Orchestra da Camera Fiorentina - Giuseppe Lanzetta
http://www.florence.tv/accessibile/DettaglioVideo.aspx?id=202 ____________________ Portugal, Porto, R.Schumann: Violin Concerto Orquestra Nacional do Porto - Graeme Jenkins
(Fernando C. Lapa, Público, 31 July 2006) http://www.weigold-boehm.de/frontend/frontend.php?categoryid=1&articleid=91&action=show ____________________ Germany, Wiesbaden, A.Dvorak, Violin Concerto op.53 Orchestre National de Lyon - Jun Märkl
(Frankfurter Neue Presse vom 05.09.2006)
(Richard Hönicke, Wiesbaden Kurier) http://www.main-rheiner.de/region/objekt.php3?artikel_id=2509655 http://www.weigold-boehm.de/news/ ____________ Luxembourg Mozart, Violin Concerto in A major KV219 Orchestre Philharmonique de Luxembourg - Sir Neville Marriner
(Isabelle Trüb - Pizzicato 2/2007)
(Loll Weber - d’Wort 27 Dezember 2006) ____________________ Italy Milano Brahms, Violin Concerto op.77 Orchestra dei Pomeriggi Musicali - Gabor Otvos
È l'occasione per ascoltare un vero talento, un ragazzo che vive la vita e lo stile di oggi, ma che non gioca a modernizzare i classici Con i capelli lunghi, la barbetta incolta, i jeans a vita bassa, il fisico (e le pose) da modello, David Garrett sembra più un cantante pop che non un violinista classico. Ma le perplessità di chi non ama lasciarsi ingannare dalle «icone» merceologiche si disperdono subito, appena lo si sente suonare. STRUMENTI Al Dal Verme, David Garrett propone un capolavoro dell'Ottocento, quale il Concerto per violino di Brahms.... ne dà un'interpretazione sobria, ma molto lirica e luminosa. L'Orchestra, snella e tersa, e in questo poco brahmsiana, si acorda con singolare sintonia al scioltezza cantabile del giovane solista, dal suono finissimo ed espressivo. Garrett ama tornire frasi minute e affilate, che il suo vibrato leggero mantiene intensamente romantiche, anche nella purezza del timbro. Con exploit di alto virtuosismo, specie nelle difficili scale di accordi nel primo Allegro. Gian Mario Benzing, 23 febbraio 2007 - http://www.corriere.it/vivimilano/concerti/articoli/2007/02_Febbraio/23/garrett.shtml)
24 febbraio Cesare Guzzardellahttp://www.corrierebit.com/musica.htm *** "Benvenuto David Garrett" su RAI radio 3 (adoro quando David risponde "Benvenuto" con l'accento americano!) ____________________ Germany, Ingolstadt Pianist: Milana Chemyavska MOZART: Sonate n°26 B-dur KV 378 BRAHMS: Sonate n°2 A-dur op.100 GRIEG: Sonate n°3 c-Moll op.45
Ingolstatdt (DK). Il y a des moments dans un concert qui sont dificile à oublier. Pas nécessairement parce que ce sont des moments de grande maîtrise, mais parce qu’il caractérisent tellement justement l’Art du musicien. Une telle scène eut lieu pendant la soirée donnée par le violiniste David Garrett “Konzertverein in the Ingolstat Festsaal”, quand l’artiste joua comme bis à la fin de sa performance, le “Csardas” Vittorio Monti, un régal de virtuosité. Pendant une seconde, on vit comment le très jeune germano-américain, pendant qu’il jouait les seizièmes figures infernales en rapidité dans un facile staccato, soudain prit distance avec son propre jeu, comme s’il voulait murmurer au public avec un sourire embarrassé sur son visage: “Je ne sais pas comment je fais pour jouer le violon comme ça aussi bien. C’est juste comme ça.” En effet, la prouesse de David Garrett, sa virtuosité, son habileté est tellement phénoménale, tellement au-delà des comparaisons, que probablement, lui-même ne peut comprendre pleinement cette capacité. Cela s’est reflété dans chaque oeuvre de ce soir et pas seulement dans les morceaux virtuoses que Garrett avait placé stratégiquement à la fin de la soirée. Bien sûr, il y a peu d’autres violonistes qui sont capables de maîtriser les immenses difficultés de “la Ronde des Lutins” d’Antonio Joseph Bazzini avec tellement d’aisance, tellement relax, rapide et, par dessus tout, avec tellement de modestie: ces passages de saltato ridicules, ces sixième tremolos quasi injouables, ces incroyables doubles flageolets. Ou bien les deux Caprices de Paganini: les difficiles mélodies chromatiques des tierces et les énormes sauts du No.13 sont rarement joués aussi adroitement et rapidement et les accords du No 14 sont rarement maitrisés aussi aisément que par David Garrett ce soir. Mais les sonates qu’il intertréta avant, il les joua de manière encore plus extraordinaire. Pourquoi, Parce que la jeune Star du violon, qui est en train de travailler son come-back après ses quatre années d’étude avec Itzhak Perlman, peut sortir de son Stradivariuss une sonorité incroyablement douce comme un son extrêmement rapide en vibrations. Garrett joua la Sonate “Thuner” de Johannes Brahms avec une sonorité renversante de beauté et une virtuosité décontractée. Ce que l’on percevait, c’était un artiste extrèmement beau produisant des sons extrêment beaux. Mais: Il n’y avait certainement pas un mannequin jouant du violon sur scène, mais plutôt un grand violoniste qui pendant ses études a parfois gagné sa vie en présentant la mode masculine. Le jeu de Garrett est spécialement fait pour la Sonate de Brahms. Il opte pour la force d’’expression des mélodies, le geste tendre et sentimental, et dès lors, il développe une onde fluide, d’une manière ou d’une autre une interprétation sereine. Même les points les plus importants du mouvement qu’il joue sont quelque peu refreinés, ainsi, il n’y a jamais de moments d’énergies inattractives. Mais Garrett a plus que ça à nous offrir. Avec la Sonate KV378 de mozart, sa sonorité est soudain un peu plus élancée, plus si lyrique. A la place, des moments d’un subtil sens de l’humour surgissent, spécialement dans les mouvements d’angle. Et l’andantino qu’il joue au début avec tellement de chaleur et d’intensité qu’on ne remarque presque pas le piano, même si la pianiste Milana Chernyavska en fait a repris possession de la voix mélodique sur ce point. L’accompagnatrice renommée avait seulement une chance de s’imposer au violoniste dans le second mouvement de la Sonate en C minor de Edward Grieg (où Garrett joua vivement, mais en aucune façon exagérément passionnée): Ici, dans le mesures initiales, sa touche délicate fut capable de difffuser l’éclat pré-impressioniste. Un merveilleux moment pour l’excellente pianiste qui avait la malchance d’être dans l’ombre d’un brillant violoniste...
Donaukurier
Ingolstadt (DK).There are moments on the concert stage that are hard to forget. Not necessarily because they are moments of greatest mastery, but because they so accurately characterise the art of a musician. Such a scene occured during David Garrett’s violin evening for the “Konzertverein in the Ingolstat Festsaal”, when the artist played Vittorio Monti’s virtuoso treat “Csardas” as an encore at the end of his performance. For a second, you saw how the still very young German-American, while playing the viciously fast sixteenth figures in an easy staccato, suddenly kept distance to his own play, as if he wanted to whisper to his audience with an embarrassed smile on his face: “I also do not know how I manage to play the violin this well. It just happens.” Indeed, David Garrett’s prowess, his virtuosity, his violinist ability of expression is so phenomenal, so beyond comparison, that probably even he himself is not able to fully grasp his ability. This is reflected in every work of this evening and definitely not only the virtuoso pieces that Garrett strategically placed at the end of the evening. Of course, only very few other vioinists are able to master the immense difficulties of Antonio Joseph Bazzini’s “La Ronde des Lutins” with such ease, so relaxed, fast and, above all, with such understatement: those ridiculous sautille passages, thoses almost unplayable sixth tremoli, those incredible flageolet double stops. Or Paganini’s two Caprices: The difficult, chromatic melodies of thirds and the enormous jumps of No.13 are rarely played so neatly and quickly and the march-like concentration of chords of No.14 are rarely mastered with so much ease as by David Garrett on this evening. But the sonatas he interpreted before, he played even more overwhelmingly. Why? Because the young star violinist, who is working on his comeback after his four-year-study with Itzhak Perlman, is able to draw an incredibly light-sounding, extremely fast-vibrating sound from his Stradivari. Garrett played the Thuner Sonata by Johannes Brahms with stunningly beautiful sounds and with relaxed virtuosity. What one perceived, was an extremely handsome artist producing beautiful sounds. But: There certainely was no violin-playing dressman on stage, but rather a great violinist who during his studies has sometimes earned his living presenting men’s fashion. Garrett’s violin play is especially made for the Brahms Sonata. He opts for the expressiveness of the melodies, the tender and sentimental gesture, and thus develops a smoothly flowing, somehow serene interpretation. Even the highlights of the movement he plays are somewhat restrained, so there are never moments of unattractive forcefulness. But Garrett has more to offer than that. With Mozart’s Sonata KV378, his sounds are suddenly a little more slender, not so lyrical anymore. Instead, moments of a subtle sense of humour flare up especially in the corner movements. And the Andantino he initially plays so warmly and intensively that one does almost not notice the piano, even though the pianist Milana Chernyavska in fact has taken over the melodic main voice at this point. The renowned accompanist only had a chance to assert herself against the violinist in the second movement of the Sonata in C minor by Edward Grieg (wich Garrett played stirringly, but by no means exaggeratedly passionately): Here, in the initial beats, her delicate touch culture was able to diffuse pre-impressionistic brilliance. A wonderful moment for this excellent pianist who had the bad luck to be in the shadow of a brilliant violinist... Donaukurier Ingolstadt (DK) Es gibt Momente auf der Konzertbühne, die man so leicht nicht vergisst. Und zwar nicht unbedingt, weil sie Augenblicke größter Meisterschaft sind, sondern weil sie so treffend die Kunst eines Musikers charakterisieren. Bei David Garretts Violin-abend für den Konzertverein im Ingolstädter Festsaal kam es zu so einer Szene, als der Künstler ganz am Ende seines Auftritts als Zugabe Vittorio Montis Virtuosenleckerbissen "Csárdás" vortrug. Ein Augenblick lang sah man, wie der immer noch sehr junge Deutsch-Amerikaner, während er die teuflisch schnellen Sechzehntel-Figuren in lockerem Stakkato hinfetzte, plötzlich Distanz zu seinem eigenen Spiel suchte, so als wollte er mit verlegenem Lächeln auf den Lippen dem Publikum zuflüstern: "Ich weiß auch nicht genau, wie ich es fertig bringe, so gut Geige zu spielen. Es passiert einfach." In der Tat: David Garretts Können, seine Virtuosität, seine geigerischen Ausdrucksmöglichkeiten sind so phänomenal, so unvergleichlich, dass wahrscheinlich nicht einmal er selbst es ganz zu fassen vermag. Das zeigte sich bei jedem Werk dieses Abends und keineswegs nur bei den Virtuosen-Stückchen, die Garrett strategisch günstig an das Ende seines Violinabends platziert hatte. Sicher: Nur wenig andere Geiger vermögen mit solcher Leichtigkeit, so unverkrampft, so schnell und vor allem mit solchem Understatement, die immensen Schwierigkeiten von Antonio Joseph Bazzinis "La Ronde des lutins" zu bewältigen: diese irrwitzigen Springbogen-Passagen, diese schier kaum spielbaren Sexttremoli, diese unglaublichen Flageolett-Doppelgriffe. Oder die beiden Paganini-Capricen: Selten werden die schwierigen, chromatischen Terzläufe und die enormen Sprünge der Nr. 13 so sauber und flink gegriffen oder die marschartigen Akkordballungen der Nr. 14 so problemlos bewältigt wie von David Garrett an diesem Abend. Aber fast noch überwältigender gelangen David Garrett die Sonaten, die er zuvor interpretierte. Warum? Weil der junge Geigenstar, der gerade nach einer vierjährigen Studienzeit bei Itzhak Perlman an seinem Comeback arbeitet, seiner Stradivari einen ungeheuer süffig klingenden, extrem schnell vibrierenden Ton zu entlocken vermag. Die Thuner-Sonate von Johannes Brahms gestaltete Garrett atemberaubend tonschön und mit unangestrengter Virtuosität. Was man wahrn ahm , war ein äußerst gut aussehender Künstler, der schöne Töne produziert. Aber: Hier stand ganz gewiss kein geigenspielender Dressman auf dem Podium, sondern vielmehr ein großer Geiger, der während seines Studiums auch mal sein Geld mit der Präsentation von Herrenmode verdient hat. Garretts Violinspiel ist wie geschaffen gerade für die Brahms-Sonate. Er setzt auf die Ausdruckskraft der Melodien, die zärtliche Geste, die gemütvolle Gebärde und entwickelt so eine ruhig fließende, irgendwie abgeklärt wirkende Interpretation. Selbst die Satzhöhepunkte spielt er nur verhalten aus, niemals gibt es Momente unschöner Forciertheit. Aber Garrett kann auch anders. Bei Mozarts Sonate KV 378 ist sein Ton plötzlich etwas schlanker, nicht mehr so schwärmerisch. Dafür flackern gerade in den Ecksätzen Augenblicke untergründigen Humors auf. Und das Andantino spielt er am Anfang so warm und intensiv, dass man kaum mehr auf das Klavier achtet, obwohl die Pianistin Milana Chernyavska hier eigentlich anfangs die melodiöse Hauptstimme übernommen hat. Die renommierte Begleiterin hatte erst beim zweiten Satz der c-Moll-Sonate von Edward Grieg (den Garrett mitreißend aber keineswegs übertrieben leidenschaftlich vortrug) Chancen, sich gegen den Geiger zu behaupten: Hier, in den Einleitungstakten, konnte ihre delikate Anschlagskultur vorimpressionistischen Glanz verbreiten. Ein wunderbarer Augenblick für diese vorzügliche Pianistin, die an diesem Abend das Pech hatte, im Schatten eines fulminanten Geigers zu stehen. Lang anhaltender, begeisterter Beifall für beide Künstler. 11.03.2007 18:30 Uhr source: http://www.donaukurier.de/freizeit/kultur/art598,1626474.html?fCMS=2270ce87dec79eb76ccc6f8034b33448# ____________________ David Garrett : jeune, « fun », et talentueux ! par Audrey Roncigli (27/04/2007) Lire l’article sur ResMusica.com ____________________
David Garrett all'Olimpico di Vicenza 19 maggio 2007 Italia, Vicenza, Teatro Olimpico PAGANIN, Concerto No 2 per Violino “La Campanella” Direttore: Giuseppe Lanzetta Orchestra del Teatro Olimpico
Alto, occhi azzurri, lunghe chiome bionde, sorriso accattivante, semplicemente elegante nel suo nero completo D&G, Garrett si muove con scioltezza, lanciando occhiate al numeroso uditorio, sorride sornione, accarezza - prima dell'incipit solistico - con delicatezza il suo archetto. Eppure l'impressione che si coglie è, come si è detto, di una semplice naturalezza e non di un oculato atteggiamento divistico. L'intesa con il bravo direttore Giuseppe Lanzetta è senza ombre, il fraseggio è sciolto e il suono è morbido e anche l'Oto esprime lucentezza. Il Paganini di questo secondo Concerto per violino e orchestra del 1826, denominato "La Campanella", è un Paganini quasi rilassato, seduttore e innamorato, avulso addirittura da certi funambolici guizzi autoreferenziali. Il virtuosismo c'è, tutto, e colpisce ad effetto il pubblico, ma brilla con una luce di grande chiarezza , e che con il bel suono contraddistingue questo giovane talento. Talento che sembra quasi improvvisare, anche nella risoluzione delle due cadenze, a firma dello stesso Garrett. Il successo è strepitoso, le chiamate sul proscenio ripetute, parecchi minuti di applausi e un pubblico calorosissimo (non solo per il caldo Olimpico) regalano due Capricci del compositore genovese suonati in stato di grazia.... (Fonte: Eva Purelli, “il giornale di Vicenza”, 21maggio 2007 *****
... David Garrett. giovanissima stella del firmamento musicale di oggi, David Garrett, 25 anni, ha studiato violino per tutta la vita, da quando aveva quattro anni e si scoprì il suo talento innato. Fisico e look da indossatore, Garrett si definisce un artista della “Generazione MTV”, e si sente influenzato da tutta la musica che lo circonda, dal rock al pop. I suoi dischi vengono lanciati in tutto il mondo con un battage pubblicitario degno di una pop star, e lui stesso cita tra i suoi miti Jimmy Hendrix e i suoi preferiti Led Zeppelin e Metallica, oltre a grandi nomi della musica classica con i quali si è esibito, da Isaac Stern a Gerd Albrecht...” (Fonte Anna Baldo, http://www.classicanews.it/2007/440_david_garrett_all_olimpico_di_vicenza.shtml) *****
VICENZA - ... Garrett ascolta Bach e i Metallica, Beethoven e Jimmy Hendrix, Brahms e i Led Zeppelin. Ha venticinque anni, capigliatura affidata da un competente hair stylist, look dégagé, accenno di barba spruzzato su mento e gote, sorriso accattivante, fisico allenato. Si definisce un artista della "MTV generation"... Controllate il suo sito (www.david-garrett.de): sembra di sfogliare Vogue o Vanity Fair. ...Garrett, tedesco di nascita, è bravo. Uno che ha suonato con Yehudi Menuhin, Isaac Stern, Itzhak Perlman, che si è diplomato alla Julliard, che gira il mondo, non può essere un fenomeno da baraccone. Lo stesso Paganini, istrionico quanto altri mai, ha conquistato la fama non solo in virtù delle sue superiori capacità musicali. Un alone diabolico, abilmente evocato, deve avere avuto il suo peso. Non è forse un caso che Garrett abbia scelto di esibirsi sulle note del Concerto per violino e orchestra n. 2 in si minore op. 7 di Paganini, quello noto con il titolo di "La Campanella" dovuto all'uso insistito del triangolo che, nel terzo tempo, si fa interlocutore del violino. Non ci sono buone ragioni per pensare che il Garrett style sia dannoso alla causa della musica, che le folle plaudenti dei concerti rock siano incompatibili con la classica. Se la sopravvivenza del genere passa per i jeans strappati, occorrerà superare il disagio e farsene una ragione... ( Fonte: Filippo Lovato, http://gazzettino.quinordest.it/VisualizzaArticolo.php3?Luogo=Bassano&Codice=3382322&Data=2007-5-19&Pagina=14)
____________________ Italia, Roma INTERVISTA su Radio1 Musica, “Village” Village ha ospitato lunedì 21 maggio per un mini-live e un'intervista il virtuoso giovane violinista David Garrett.
Una bellissima intervista da Silvia Boschero dove David sembrava in piena forma! (Fonte: http://www.radio.rai.it/radio1/radiounomusica/village.cfm?Q_EV_ID=215814&Q_TIP_ID=358)
____________________ Italia, Terni Teatro VerdiConductor: Nino Lepore Ensemble della Scala Orchestra Pianist: Massimiliano Ferrati FELIX MENDELSSOHN: Concerto in Re minor for piano, violin and strings.
Eccezionale è stata la presenza dell’attento e competente publico in platea, che ha apprezzato con scoscianti applausi e con una standing ovation finale la qualità delle esecuzioni e dei brani proposti. Un concerto coinvolgente, trascinante e allo stesso tempo emozionante, in cui le esecuzioni degli archi della Scala hanno fatto preludio al duetto/duello di note tra il bravissimo pianista Massimiliano Ferrati e il genio del violino David Garrett, che hanno creato una atmosfera di altri tempi all’interno del teatro, con un crescendo finale che rare volte si era visto a Terni." (Fonte: “Corriere dell’Umbria” - 04 aprile 2007)
intervista con David Garrett
A chi critica il crossover, risponde che i più grandi compositori del passato mescolavano musica colta e popolare e cercavano di andare incontro ai gusti del publico.Dice che la bellezza può esere utile, però l’unica cosa che conta è la musica... (fonte: Alice Bertolini, “Suonare”, maggio 2007)
GARRETT GOES POP
. cote: “très bon”, (source: Isabelle Trüb, “Pizzicato, 6/2007)
Blond Ambition
“I don’t hook up with fans or the people that come to my concert. That’s just sleazy and cheap.” Being a child prodigy is generally a bad thing. You peak before you have hair in the right places, and by the time you’re ready to embrace women, they are only able visualize you in your un-sexiest moments of childhood triumph. It’s a serious bummer… unless of course, you’re David Garrett. At 25, Garrett has achieved a truckload of accolades in the classical music world with his dexterity on the violin. This German-American (his dad’s a German lawyer and mum’s an American ballerina) maverick started to amaze folks at the age of four after a bratty tantrum got him his first violin. By the time he was eight, the guy was already wowing crowds with his masterful skills – backed by a management team and playing solo with leading international orchestras including the London Philharmonic and the Los Angeles Philharmonic. “Oh no,” you moan, “he’s going to cross over to mainstream!” Yes he is. Ok, so this whole classical-musician-going pop is an annoying phenomenon most pop listeners scoff at as just a ‘phase’ acclaimed classically-trained prodigies try out because they’re bored. But wait. Upon further investigation (and by that, I’m talking about a one-on-one with the man himself at a showcase in Singapore), there seems to be a passionate stirring in this prodigy’s ambitious spirit – he actually wants to go mainstream for a remarkable reason. Oh by the way, the Singaporean sound crew ruined Garrett’s performance that night. On a clear evening with but a gentle breeze to upset the leafy outdoors, Garret had to apologetically play accapella – tsk, tsk… but back to this maverick’s passionate stirring. Sell me ‘David Garrett’ in a paragraph or less… Sell you? I’m not much of a salesman… ‘Selling’ sounds like you’re really desperate you know. Ok, I’ll try, “David Garrett is a core classical musician who loves to entertain young people because he feels that it is important for young people to listen to classical music.” Why is that so? Because classical music is no longer audible in magazines, TV and radio… and I feel it is a big shame because so much wonderful music comes from there. It is basically the root of everything we hear. From experience I know for a fact that once young people are exposed to classical music – they will like it. It’s only a matter of getting it out there and I have the possibility to that. So what’s the brand of classical music that you’re trying to introduce to young people? The CD is a crossover album and it’s really meant to be for young people. It’s supposed to be accessable and fun. I really want this album to be their first semi-classical CD, and then it’s up to them if they want to move any further. So what’s the key element in you getting this new sound to them? I believe they can be quite resistant to classical music. Classical music itself is great and I’m not worried about that. I think that classical music is kind of dead especially from the perspective of the young people. So what are you going to do about it? In every genre it’s all about connecting with your listeners. You have to be able to relate to it. And I feel it is harder to relate to classical music. It can alienate the younger listener. So I am trying to really be myself here, in this album, and hopefully people will be able to connect with me – you know, more relaxed and comfortable. So how did you come to this point? This relaxed, laid back, ‘classical’ style? I’ve always been like this. When my friends come over to my place and ask me to play something, I don’t go change into a tux before I play for them. (laughs) So for me it’s a natural thing, to be able to relax and enjoy the music, the atmosphere and the vibe. Ok so last night at the showcase, the women were looking at you dreamily… Well that is a bonus, it definitely helps. To say that looks and appearance aren’t important would be stupid. To me the quality of music is the more important thing, but of course when it comes to getting to a wider audience – it definitely helps. So you’ve done the part-time modeling and you’re in the classical music scene – which gets you more girls? (Laughs) I really can’t say which gets more girls… Aw c’mon man… you got both… (Laughs) Ok, ok, let me set the record straight… I don’t hook up with fans or the people that come to my concert. That’s just sleazy and cheap. I don’t need either to meet girls. I can just go out in New York and meet people. So that’s not really the aim… I may sound idealistic but to me it really is about the music first and foremost. Everything else is a bonus. Ok, so a lot of classical musicians have tried to break into the youth market. So what sets you apart in a sea of uncertain transition to ‘pop’? I really don’t know how much I will succeed with this. I don’t care too much if it’s going to be huge or just a little bit. I just think that it is the responsibility of someone who’s part of the young generation of classical musicians to ensure the next generation’s interest in this genre. If it’s going to be a great success then wonderful, if not then I will still be very happy because I’ve done all I could to get the word out there, and that’s the message. You really want that responsibility? Why burden yourself with this? No… it’s not a burden. You have to do something in life that makes you feel valuable, or makes you feel like you can do a change. What kind of life is it if you live for your own selfish reasons? Such altruism… I’m just a vessel to which the music is speaking… Now wait… No really, I wouldn’t do this for myself. Of course it helps to pay the bills and all but it’s too much of a hassle if I really just did it for myself. It’s so much traveling, so much stress. If I were to do it just for me, it’s really not worth it. I could live a more comfortable life if I didn’t. I really do feel that it is my responsibility to do this… Just like Spidey, “With great power comes great responsibility” huh? So when did you realize you had to do this? About two to three years ago, I was part of a project in Europe, it was in a big stadium and it was a crossover event. It had pop and rock artistes and it also had one classical act – which was me. The audience was 16 to 40 and although I was playing classical music they really enjoyed it. I was walking around and dancing and I was really working the audience, and they responded to me. So I thought if it was possible to do this in front of 15000 people, then there is potential, people like the music. It’s the image they don’t like; the music is not the problem. That was the initiation for me. I had to present the music from a different angle. © malaysiantoday on 2007/6/28 (source: http://www.malaysiantoday.com.my/web/modules/news/article.php?storyid=187)
«Col violino sposo Paganini e i Metallica»
«Tutti considerano la musica classica intellettuale e colta; è vero ma per me è un dramma - racconta Garrett - io voglio avvicinarla ai giovani trasformando in classici brani dei Metallica come Nothing Else Matters». (...) io so cosa sia l’isolamento. Ho iniziato a suonare il violino a quattro anni e avevo contatti solo col maestro, con mia madre ballerina d’opera e papà, severo avvocato. Quando sono andato al liceo mi sono sentito un Ufo.Lì ho scoperto i Led |
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