The "Sinfonia" is the archetypical 1960s mosaic of inspiration and allusion, and has rarely sounded as richly sonorous as in this performance . . .
Eötvös is expert at pacing the music and conjures playing from the orchestra which is both precise and exciting . . . the recording reflects the depth and perspective of the unconventionally seated orchestra. A must-have.
All credit . . . to Peter Eötvös for bringing out its musical strengths so convincingly . . . Eötvös recognizes the deep seriousness underlying its stylistic charade: thus the Mahler-informed third movement strikes a balance between familiarity and estrangement that time has made more pertinent; one which the movements either side set in relief with an emphasis on more speculative allusion, and with the outer movements setting up then intensifying and interplay of musical motifs . . . The question of whether Berio's actual creativity in such pieces is more passive than active can at least be left in abeyance when the musical outcome is as intriguing and as enticing as here . . . This is a highly recommendable disc . . .
Mr. Eötvös and his recording engineers rein the text back into the overall texture, taking their cue form the scherzo's tempo indication, "in a restfully flowing movement," and stressing the flow while tempering the disruptive outbursts. In effect, Mr. Eötvös turns the work into the symphony of its title . . . His conception is persuasive . . .
Luciano Berio was one of the most fascinating and provocative composers of modern times, a master sculptor of sonorous matter and the creator of the genre-benders like "Sinfonia" . . . As heard on this new recording, "Sinfonia" strikes the ear, well, like a blast from the past . . . Eötvös is authoritative, and the music is impeccably played by the Göteborgs Symfoniker . . . DG has provided a marvellous recording. Brass and percussion have palpable body and presence; the frequent violent outbursts are very effective. The strings have a beautiful bloom, and the soft tam-tam strokes, allowed to ring, seem to go on forever.
. . . the work stands as one of the greatest orchestral masterworks since "Sacre du printemps". It is heartening to see that it is continuing to appear in both concerts . . . and on disc . . . It is clear, incisive, and powerful . . . it has great sound . . . over the course of the piece, Eötvös develops increasing momentum. The final movement in particular has a mounting thrilling momentum that finally convices me definitively of its rightness as a necessary conclusion. Finally, the interpretation of the third movement is not only idiomatic, precise, and passionate, it's also -- funny! At last, the wit in the piece emerges . . . this is a superb release, a grand tribute to a masterpiece nearing its 40th birthday . . . I heartily recommend DG's new version, which serves this landmark piece admirably.
. . . we are able to distinguish much of what the singers are actually saying and singing, able to hear crystalline textures in the music and glimpse the gleaming river of Mahler that runs through the third movement and into the fourth.
. . . laut, biegsam, engagiert und klangmächtig, dabei akribisch genau im Vortrag die Göteborger Sinfoniker mit "Sinfonia" und "Ekphrasis" unter Leitung des unter Strom stehenden Peter Eötvös. Diesem integren und genauen Sachwalter neuer Musik gelingt das Kunststück, die unaufgelöste und unauflösbare Spannung zwischen gestern und morgen zu bewahren.
. . . on peut faire confiance aux qualités de Peter Eötvös et ŕ son exigence artistique.
Dopée par le chant des London Voices, cette nouvelle interprétation par un spécialiste du genre, le compositeur et chef d'orchestre Peter Eötvös, ne manque pas d'allure. Rien n'a échappé ŕ l'oreille vigilante du chef: le tourbillon des citations, comme des objets trouvés insérés dans l'orchestre si volubile de l'Italien, les effets de perspective, la houle des éventements sonores qui s'amalgament et se dissolvent comme des bulles ŕ la surface d'un orchestre jaillissant.
Eötvös es delicado, sutil, con voces que aparecen por detrás de la orquesta como ecos que apenas se oyen un momento antes de desaparecer (esa era la idea de Berio, por cierto) ... referencial.
Sutil, refinada hasta la sensualidad.