In 2019, we toured his staging of Bach’s St John Passion, created in collaboration with Peter Sellars. For some years Principal Guest Conductor of the Rotterdam and Los Angeles Philharmonic Orchestras, in 1980 he became Principal Conductor and Artistic Adviser of the City of Birmingham Symphony Orchestra, stepping up to Music Director from September 1990 until August 1998. The prelude already showed that there is a reason why the orchestra has such a marvellous reputation. Rattle said last week ‘I’ve been begging the orchestra to be more like chiffon than wool’ and after a pulsating, glistening rendition he was greeted by overwhelming cheers and applause.” Ronald Blum, The Washington Post, September 2016, “As expansive and romantic as Furtwängler, Rattle found depths of dark passion in the first three movements that this apparently sunny work is rarely credited with secreting. https://ja.wikipedia.org/w/index.php?title=サイモン・ラトル&oldid=78936417, 音楽之友社編『世界のオーケストラ 123』（1993年）pp.118-119 渡辺和彦「バーミンガム市交響楽団」. He became internationally famous as the conductor of the City of Birmingham Symphony Orchestra which he made into a world-class orchestra. Mr. Rattle has, to no small extent, defined New York’s classical music scene. Rattle now has the title of Principal Artist with the Orchestra of the Age of Enlightenment. He is now Music Director of the London Symphony Orchestra. How their individual expositions of their instrumental parts were shaped, coaxed, and formed by Rattle was the evening’s particular revelation to me…So it’s safe to say that Rattle and the BPO are truly of one mind by now across this broad landscape… A word about this ensemble: it is unique.” John Ehrlich, Classical Scene, November 2016, “Again and again, Rattle charged up the space between the notes with energetic stillness, then released it with a sudden cue and a spark of sound. Find out more. Rattle war 1977 der jüngste Dirigent bei den renommierten Opernfestspielen im englischen Glyndebourne, wo er 1986 George Gershwins Porgy and Bess dirigierte. Instead, refreshingly, they talk about the future, what can they make anew, what can they improve, how can they reach further into the community. The flexibility of tempo, constantly shifting albeit ever so slightly, discouraged resolution or complacency, reminding us that even the most glorious of summer afternoons cannot last.” Alexandra Coghlan, The Arts Desk, September 2016, “No one has ever gone, or is ever likely to go, deeper in the creation of subtle perspectives than Simon Rattle and the Berlin Philharmonic…From the first Nachtmusik (“Night-music”) onwards, miracles of sound abounded. Rattle delivered the huge waves of humanity that surge through this score while achieving a level of intensity both subtly graded and consistently maintained… In Rattle’s hands the harps of the Scherzo’s trio sounded less celestial than life-affirming, while the Adagio moved with hard-won conviction in a huge arc from its opening of Mahlerian angst and heavenward aspiration to a sense of spiritual confidence… As with the preceding movements, every bar of the finale was stamped with both urgency and gravity, blazing to a stirring peroration. The inner sections of this movement sparkled with clarity, and when the principal theme returned, Rattle and the orchestra highlighted its transformation. He is also Founding Patron of … Rattle’s tempi always felt right, the shaping of each phrase natural and unforced.” ★★★★ Fiona Maddocks, The Guardian, September 2015, “Golden-sweet, the Vienna strings traced halos round Elgar’s lines, softly insistent but never striving to fill the hall, finding an exquisite simplicity for the opening of Part II.
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