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Fabriksgatan 2, S- 701 46 Örebro, Sweden
Phone: +46 19-766 62 00
Tickets: +46 19-766 62 22
Fax: +46 19-766 62 90
info@orebrokonserthus.com
Opening hours:
Open M - F 10-17 and 1 hour before the concerts start.
Please see Discography for a complete listing.
The playing of the Swedish Chamber Orchestra is above reproach. The balance between strings and windsper mits maximum clarity at all dynamic levels, while the sound in loud passages is remarkably full for a small ensemble, with trumpets and drums cutting through the texture cleanly. Dausgaard never inhibits his players with fussy phrasing or self-serving mannerisms, but the effect he creates ( per haps paradoxically) is music-making full ofper sonality and character ... Don't overlook this practicallyper fect release. If you're in the market for Beethoven's first two symphonies, you can't do better.“
“Thomas Dausgaard and the Swedish Chamber Orchestra have obviously learned lessons from theper iod-instrument innovators, but there's nothing mannered or willfully contentious about the results. Instead there's abundant life, quick-witted musical intelligence, inwardly charged expression, scintillating precision, humour and a sense of awe before Beethoven' more startling inspirations - yes, they can still startle even today. It's a long time since I've enjoyed a new recording of the Fourth as much as this; clearly there was never any danger of Dausgaard falling for the old idea that No. 4 is a lighter, and therefore lesser symphony.“
“An attractive issue marked by an immaculate pianism, nimble conducting and refined sound."
“Thomas Dausgaard's reading of Beethoven's Seventh Symphony is Wagner's "Apotheosis of the dance" made manifest. This is aper formance of boundless energy and irresistible spirit in the manner of Toscanini's NBC Symphony recording. From the first chord, which sounds with startling precision and decisiveness the music flows impulsively under Dausgaard's purposeful phrasing and tempos ...
Dausgaard also has some interesting things to say about Beethoven's score, as illustrated by his intelligent and idiosyncratic phrasing of the Allegretto's insistent rhythm. The scherzo bounces merrily, with the brass and drums fierce and proud in the trio. Dausgaard's finale is quite brisk, but he shows a more convincing way to render it than fellow del Mar adherent Abbado, with his too-frantic tempos and blurred, faceless articulation. By emphasizing rhythm and accents, Dausgaard creates genuine and lasting excitement--a tour de force of aper formance. ... Even in these days of Beethoven saturation, this release demands acquisition.“
“In Dausgaard's hands, and with the brilliant playing of the three soloists led by cellist Mats Rondin, the Triple Concerto, with its ungainly proportions and, in the hands of many interpreters, mind-numbing passage work, receives its best recording ever."
“The closing minutes here just makes you think “Bravo Beethoven!" If that was Dausgaard's intention, then he and his orchestra have succeeded, in spades."