Press Reviews

Orosanu’s direction is infallible, with a rare accuracy of style.

Patrick Szersnovicz

An entire program of masterpieces bearing the signature of Johannes Brahms reveals the creative scope of an emerging musician, capable of interpreting the complexities of Romantic music.

Standing at the conductor’s desk of the Radio National Orchestra, with whom he has collaborated for some years now, the artist is explaining to his listeners—in the concert hall, but also by direct broadcasting to the national radio stations, Radio Romania Muzical, Radio Romania Cultural, his view of the works with which he is currently engrossed. By choosing Brahms’s 4th Symphony he certainly proves an ability to prepare complex works which involve meditation, study, and experience – works by which his performance can be compared to the prestigious accounts provided by successive generations of masters.

So what is the image of Cristian Oroşanu today? We already know his artistic temperament and his ability to give spectacular performances. However, his career to date has taught him deep stylistic understanding, efficiency of movement and an ability to communicate his wishes to the orchestral players. The preparation time for a “guest” conductor, expressed in the number of rehearsals, is known to be limited. Oroşanu proves strict and at the same time effective in reshaping possible negligent or unresponsive moments of the players. Brahms’s 4th Symphony has been a proof in this respect by bringing us the pure joy of music.

His communication with the soloist, violinist Gabriel Croitoru, who replaced Mihai Abramovici at the last moment, was exemplary. In Brahms’s Violin Concerto, both artists on the stage were fully appreciated.

Grigore Constantinescu

Cristian Orosanu carries out an admirable performance with the National orchestra Bordeaux Aquitaine.

The orchestra sounds with a creditable plenitude and coherence, and the Romanian conductor can balance the desks to excite the wood winds, to make vibrate the cords and to contain the glare of the brass section.

This sence of balance serves the singers as well, helping them not to force their voices.

Gilles Charlassier

Cristian Orosanu inspires the orchestra provocking the enthusiastic applause of the audience, for a masterpiece with plenty of discographic references, such us Stravinsky’s Fire Bird.

Oltea Serban-Parau

The Tonhalle Orchestra of Zürich was in its best form, inspired by the young conductor Cristian Orosanu… He conducted Bartok’s “Romanian Dances” with a fine balance between spicy rhythms and popular melodies. In George Enescu’s “Romanian Rhapsody…, of the year 1901, a mixture of music elements from Eastern and Western Europe, with pentatonic rhytms and gypsy melodies, all of these culminating in a a vivid and highly colorful performance. And in Stravinsky concert suite “Firebird” of 1919, Orosanu brought out the contrast between the racing rhytms and a refinded firework of colours, elements of quiet breathing and broad pulse which emerged admirably.

In the symphonic programs and opera performances Cristian Orosanu always proved the pithiness of a talent combining the mastery of music and the efficiency of the relationship with the orchestra, obtaining results that cannot remain unnoticed. This is the image of an artist having the full skills of a conductor who is capable to do his best with great orchestras, to enjoy the appreciation of the audience and critics, as he has proven until now.

Grigore Constantinescu

The orchestra became a homogenous and compact sonorous body which responded with precision and sensitivity, promptness and flexibility to the competent and inspired leadership of the conductor Cristian Orosanu. The assured musical direction of this young musician, extremely talented and thoroughly prepared, succeeded in giving Massenet’s music the dramatic stature of the composer’s idols, Berlioz and Wagner.

Luminita Vartolomei

Finally, I noted with satisfaction the orchestra’s excellent preparation, where the young conductor Cristian Orosanu had elicited an exceptional level of commitment: homogenous, precise, high quality sound. Always maintaining the balance between voices and orchestral support, he worked through the dramatic development with great musicality, from the transparent filigree of the opening pages to the sombre colours at the end, in a reading that was at the same time sensitive and well controlled. Cristian Orosanu’s development allows us to glimpse a very promising opera conductor and a valuable acquisition for the Bucharest Theatre.

Elena Zottoviceanu