- CIMEC – June 2013
Cristian Oroșanu – debut at Filarmonica „George Enescu”
The end of this season [2012/2013] has presented an unusual conducting debut. Cristian Oroșanu is already well known in Romania and internationally as a conductor of symphonic and opera performances.
The Radio Symphonic Orchestra has invited him several times, so we don’t know why the Philharmonic Orchestra “George Enescu” waited so long to do the same. The public response to the performances on June 13th and 14th were spontaneous and enthusiastic, as was feedback from the ensemble. How can we describe this first meeting? Cristian Oroșanu relates to the players by bringing them with him along the route that he wants, not always adhering to the usual patterns. Yes, we heard the musical choices that he made and were convinced by the sonority, the phrasing, and the expressivity of sound as well as the conductor’s opinions. This is about the conflict and the lyricism, the colours and the styles that support the personality of the conductor and explain why music fans and orchestras love Cristian. I’ve known it for some time and I saw it more closely on this occasion, as it’s the first time I’ve experienced his performance at a debut. His surprise may not be as big as mine, as the results of his meticulously rehearsed performances always produce similar results.
Preludiul Simfonic by Ion Dumitrescu was prepared especially for the anniversary of the centenary of the Romanian composer. Oroșanu has vigorously revived this lively Romanian music. For Tchaikovsky’s Concerto no 1, we have to admit that greater satisfaction came from the accompaniment than from the soloist Lilian Akopova, a leading pianist whose communication lacked variety. Two short works apparently brought musical surprises in Scherzo Fantastique by Stravinsky—a music that needs prior listening, which was not the case — and L’apprenti sorcier by Paul Dukas, an interpretation of Goethe’s text through highly effective rhythmic constructions, harmonies and orchestration.
With this latter piece, the applause asserted Critian Oroșanu’s success, leaving an echo after the performance — the hope of future meetings. Grigore Constantinescu
- CIMEC – November 2012
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
- HA’ARETZ, Israel – January 2011
Due to the conductor Cristian Orosanu, the orchestra had a very soft and fine sound.
- Anaclase.com – September 2010
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
- Agenda LiterNet, February 2009
Cristian Orosanu succeds to rule the orchestra through a perfect knowledge of the score. Marcel Frandes
- Ziarul Financiar, February 2009
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
- Adevarul Literar&Artistic, February 2009
The firmness and the depths are the pluses that recommand Cristian Orosanu.
- Neue Züricher Zeitung, September 2008
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.
- “Le monde de la musique”, May 2006
…this American concert was somewhat off the beaten track, performed twice in Bordeaux and once in Biarritz. The young Romanian conductor Cristian Orosanu conducted Gershwin’s Cuban Overture with a beautiful sense of phrase and architecture – a work which, despite its prodigious skill, has never truly won over the European public. In Rhapsody in Blue, Orosanu’s direction was infallible with a rare accuracy of style, more elegant and concise than is customary… Patrick Szernovicz
- “Le Sud-vest” à Bordeaux, April 2006
It is probably the most exciting concert of the season. Already with the tropical “Cuban Overture” that opened it, we find the National Orchestra Bordeaux Aquitaine in its best form, revealing all its colors as led by the conductor Cristian Orosanu with an infallible sense of architecture, dynamics and phrasing. Everything sings and dances, the brightness never becomes empty or the flush trivial. As with Michel Portal, he is an enchanting improviser, with a contagious enthusiasm. The orchestra, together with the conductor, joins him for several irresistible minutes. Luc Bourrousse
- Cuvântul, May 2005
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
- ACTUALITATEA MUZICALA (March 2003)
The conductor Cristian Orosanu – recipient of the Prix de la Critique Musicale for his exceptional debut on the podium of the National Opera of Bucharest – had his first encounter with audience, orchestra and cast at the end of last season in a performance of Verdi’s Aida. His talent, applauded that evening, has become yet more evident since in performances of Massenet’s Werther (which opened the new opera season) and with the titles which have followed. He has revealed great expressive capability and efficiency of gesture, thus justifying the important commendations of his conducting which is now sought after elsewhere by the country’s principal symphonic and operatic companies. Grigore CONSTANTINESCU
- MELOS (September-December 2002)
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
- MELOS (September-December 2002 )
The conducting gestures of the young conductor Cristian Orosanu were truly efficient and decisive. He is a dynamic, stimulating and mobilising spirit; he is a professional who is well-organised in his work with people as well as his work with the musical text. He realises the symphonic discourse with great care and the voices were well balanced in relation to the level of the orchestra and choruses. Dumitru AVAKIAN
- Romania Literara, November 2002
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.