Videos
Videos from Thomas Rösner
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Audio Clips
Audio Clips from Thomas Rösner
Review
Review from Thomas Rösner
Videos
Beethoven Philharmonie
Presentation
Europäische Wochen Passau 2020
Ludwig van Beethoven
Pastorale Ausschnitt
Wolfgang Amadeus Mozart: Sinfonia in G Major, KV. 318
Beethoven Philharmonie
Gaetano Donizetti: L’elisir d’amore
Théatre Royal de la Monnaie, Bruxelles, 9. 2015
mit Olga Peretyatko
Richard Wagner: Siegfried Idyll
Mitschnitt der CD-Aufnahme “Wagner en Suisse” in der Tribschen Villa, Orchestre Symphonique Bienne
Ludwig van Beethoven: Symphony Nr.4, first movement
Beethoven Philharmonie
Johann Strauss: Die Fledermaus
Highlights aus einer Aufführung von Johann Strauss ‘Die Fledermaus im KKL Luzern, 12. 2013, Philharmonie Baden-Baden
Beethoven Mozart
Beethoven Philharmonie
Thomas Rösner
Audio Clips
Engelbert Humperdinck: Hänsel und Gretel
Akt 3
Engelbert Humperdinck: Hänsel und Gretel
Akt 2
Erich Wolfgang Korngold: Die tote Stadt
COULEURS : Thomas Rösner on Charles Koechlin
Opéra Royal de Wallonie, Liège (Mai 2019)
La Clemenza di Tito, Wolfgang Amadeus Mozart
»In particular, the woodwind of the orchestra of the Royal Opera of Liège conjured up the finest moments in the pit under Thomas Rösner. Hats off! That was truly worthy of the concert hall. Thomas Rösner on the conductor’s podium is an attentive accompanist who succeeded in creating a transparent Mozart sound«. Hans Reul, bfr.be, 16.5.2019
»Thomas Rösner has done outstanding work: with his vigour and sense of drama, his interpretation led us away from the old, stilted versions that had for so long stood in the way of recognising the true value of this work”.Laurent Bury, forumopera, 17.5.2019
»The Austrian conductor Thomas Rösner, director of the Beethoven Philharmonie, gave his house debut at the Liège Opera, conducting a passionate, precise and crystal-clear performance”. Ingo Hamacher, IOCO, 17.5.2019
»Under the baton of Thomas Rösner, this performance did full justice to the humanistic ideas and the vigour of the work. From intimate simplicity to opulence, he presents us with a whole spectrum of colours that doesn’t just support the voices, but in its intensity draws our full attention to the music». Soline Heurtebise, Olyrix, 17.5.2019
»In the orchestra pit, Thomas Rösner’s exciting reading makes you sit up and listen to his musical ideas». Nicolas Blanmont, La libre Belgique, 17.5.2019
Festival d’Opéra de Québec, Québec (7-8/2018) New production by Robert Lepage
Die Zauberflöte, Wolfgang Amadeus Mozart
»…The Quebec Symphony Orchestra with its colorful winds and vibrant strings in the pit. Austrian conductor Thomas Rösner found a golden mean of rigour and lyricism. Sarastro would approve of his approach.« Arthur Captainis, classicalvoiceamerica, 6.8.2018
»Dans sa direction musicale, Thomas Rösner tire le meilleur parti de l’Orchestre symphonique de Québec et s’acquitte avec efficacité la responsabilité qui lui incombe de mettre en valeur les multiples interprètes sur scène.« Daniel Turp, revuelopera, 9.8.2018
»Together with the Orchestre Symphonique de Québec, the Austrian conductor Thomas Rösner achieved a nuanced, polished Mozart style in which the articulation and phrasing were worked out down to the very last detail.” Emmanuel Bernier, bachtrack, 3.8.2018
„The Quebec Symphony Orchestra under their guest- conductor Thomas Rösner have well fulfilled their task with enthusiasm, tact and lightness.« Josianne Desloges, Le soleil, 1.8.2018
»Austrian conductor Thomas Rösner led the Orchestre Symphonique de Québec through a well-paced reading of the score, neither hyper-fast as is the wont with many Mozart performances these days, nor overly ponderous.« Gian Marco Sabato, Opera Canada, 4.8.2018
»The Viennese Thomas Rösner conducts in light of historical performance practice and with absolute control.« Christophe Huss, Le devoir, 1.8.2018
Graz Philharmonic Orchestra, Opera House Graz (16.2.2018)
»The impassioned conductor Thomas Rösner conducted the concert entitled ‘Gipfelstürmer’ (‘Summiteers’) with the Graz Philharmonic Orchestra in the Graz Opera House … With Béla Bartók’s The wooden Prince, the orchestra took us up high to the peak of amazement and enthusiasm … This was an amazing concert, with a grandiose orchestra and a wonderful conductor!« 18 February 2018, nachrichten-aktuell.eu
»Kodály’s Dances of Galánta were the highpoint of the evening. Under the baton of Thomas Rösner, musical temperament and subtly differentiated playing coalesced to form a wonderful unity … In Catalani’s La Wally, Rösner succeeded in conjuring up rugged cliffs before our mind’s eye. This was an energetic, captivating journey to the summit!« MR, Neue Kronen Zeitung, 18.2.2018
Houston Grand Opera (4-5/2017)
Die Entführung aus dem Serail, Wolfgang Amadeus Mozart
»Conductor Thomas Rösner made room for the vocal lines and the orchestra’s weigthy punctuation to register equally…Rösner molded Mozart’s lyricism…and led the Houston Grand Opera Orchestra in a bright, speedy performance of Mozart’s score. Considering the predominatly light voices on stage that was a blessing.« Steven Brown, Texas Classical Review, 29.4.2017
»…conducted with wit by Austrian maestro Thomas Rösner, who has a deep affinity for the works of Mozart.« D.L. Groover, Houstonpress, 29.4.2017
»Austrian conductor Thomas Rösner, did the opera justice with flare. The overture was a merry flourish, and the balance with the singers was perfect. He pulled sweet sounds and droll emotion from the orchestra, capturing all of Mozart’s early brilliance with passion.« Sydney Boyd, Houstonia, 1.5.2017
CD National Polish Radio Symphony Orchestra / Musiques Suisses (12/2016)
Paul Kletzki: Sinfonie Nr. 2, g-Moll op. 18; Czeslaw Marek: Sinfonia op. 28.
»Austrian conductor Thomas Rösner and the Polish Radio National Symphony Orchestra of Katowice give stirring accounts of both scores. This version of the Marek now takes pride of place over what little competition is currently out there. From both the structural and scoring standpoints, late romantic orchestral music doesn’t get any better than this!« Bob McQuiston, Classical Lost and Found CLOFO.com, April 2017
»…Thomas Rösner’s adroit contouring of the ebb and flow of the music and mastery of climax building offers logic and clarity to this complex structure. At the end, everything returns to slumber and the arc is complete with a sense of inevitability prevailing.
Thomas Rösner’s stellar performances of these relatively unknown works will win over many. He achieves ravishing playing from the Polish National Radio Symphony Orchestra, revealing the inner detail of these captivating scores. The engineers’ securing of high-impact sound in a spacious and warmly resonant acoustic is another positive factor, showcasing this music at its best. I would urge all who are willing to push the boat out a little not to hesitate.« Stephen Greenbank, Musicweb-International, 03.2017
»Conductor Rösner really has his forces worked up into a frenzy here, and appropriately so; this is tremendously dramatic music, grabbing the listener by the collar and not letting go. Great stuff! Later, we reach a dark, quiet section dominated by low winds with soft tremolo strings playing high above. For their time and place, these are excellent symphonies well worth hearing,… These are the world premiere recordings of both symphonies, and conductor Thomas Rösner does a fine job with them, imbuing both with energy and spirit. The Polish National Radio Symphony plays extremely well for him, not missing a single nicety of expression or turn of phrase as the music goes along. In addition, the sonics are relatively natural, with excellent clarity as well as a bit of space around the instruments.« The Art Music Lounge, Lynn René Bayley, 20.02.2017
»These two symphonies, by Paul Kletzki and Czeslaw Marek, are a valuable enrichment of the repertoire. They are given successful, dramaturgically convincing performances under Thomas Rösner … Kletzki’s Symphony No. 2 op. 18, written in 1926, is in the traditional four movements... This première recording proves Kletzki to be very much a »Modernist« – with a voice of his own in the realm of free tonality – and he is possessed of great lyrical strength and a dramatic pulse in equal measure. The National Symphony Orchestra of Polish Radio Katowice well understands the spirit of this music, and Rösner succeeds in sculpting the whole work as a consistent dramatic arc …
Czeslaw Marek won First Prize in the International Schubert Competition in 1928 with his Sinfonia op. 28 … The most significant characteristic of Marek’s music is its noble seriousness, which excludes all cheap effects, pose or artificial pathos. The freshness that Rösner and the Polish musicians bring to this Sinfonia is a real delight, as it means that the work’s dramatic concentration is all the more intense. Overall, in interpretation and content, this makes a convincing case … for two exciting works and their composers.« magazin.klassik.com, Dr Jürgen Schaarwächter, 26.01.2017
Semperoper Dresden (12/2016)
Die Königskinder, Engelbert Humperdinck
»Musically the evening was led by Thomas Rösner who showed the many interesting details of the colourful score with intensive passion. He brought out many different shades of the music and kept everything in elegant balance. The Sächsische Staatskapelle Dresden did a great job and played the score excitingly and enjoyed the rousing music. Especially the tragic music in the third act with all its emotion and tragedy sounded lovely and was really touching.« Reviewed by Daniel Url, The Operatic Musicologist, 4.12.2016
Théâtre Royal de La Monnaie, Bruxelles (September 2015)
L’elisir d’amore, Gaetano Donizetti
»Maestro Thomas Rösner is an excellent energetic leader of the performance.«
yvesgoesclassic.be, 13.9.201»The orchestra under the direction of the Austrian Thomas Rösner, who has to conduct the singers in his back, sounds homogenous, rich in details and full of energy.«
Martine D. Mergeay, LaLibre.be, 13.9.201
»Conductor Thomas Rösner masters the difficult task to hold everything together. Since there is no orchestra pit in the Cirque Royal the musicians sit behind the stage. On the opening night the interplay between soloists, orchestra and chorus is nearly perfect.«
Hans Reul brf.be 10.9.2015
»The production rests on fine singing and tight playing by an on-stage, in-costume orchestra under the baton of Thomas Roesner, playfully resplendent in his bright red „Lifeguard” T-shirt.«
Reuters, Alastair Macdonald, 8.9.2015
Orchestra Filarmonica Toscanini, Carinthischer Sommer Festival (August 2015)
Respighi: Trittico Botticelliano Francaix: Concerto pour deux pianos et orchestre Berlioz: Symphonie fantastique
»The Carinthian Summer last Sunday offered a sumptuous programme with an Austrian first performance, and it received much acclaim. The fabulous musicians of the Filarmonica Toscanini under the baton of Thomas Rösner revealed real treasures here. Respighi’s Trittico Botticelliano was simply magical, full of gracefulness and delicate sound colours. The precision of conductor and orchestra alike, combined with the piano duo, provided us with an exciting Austrian première of Jean Françaix’s Concerto for Two Pianos … and at the close, their richly contured interpretation of Berlioz’s Fantastic Symphony offered a gripping second half of the programme, one that led the listener deep into the disjointed world of its composer …«. Andrea Hein, Kleine Zeitung, 28.7.2015
»The evening’s programme with the „Concerto pour deux pianos” by Jean Françaix, of which we experienced the Austrian première in Villach, was a highpoint of the Carinthian Summer. This musical firework, brimming with brilliant ideas, was performed by the Soos-Haag Piano Duo and the Toscanini Filarmonica under the baton of the Viennese conductor Thomas Rösner. It was a gripping musical journey of extraordinary intelligence and joviality … the technical subtleties were mastered as if they were perfectly natural, and the audience experienced all this as sheer joy in music-making«. Willi Rainer, Kronen Zeitung, 28.7.2015