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"Gustavo Gimeno's conducting is an inexhaustible display of virtues. (…) Without any doubt, his performance at the Real of a very demanding subject will make history.”
"All that remains is to tame Prokofiev's instrumental writing, which Gustavo Gimeno accomplishes with ease, thanks to a balanced and measured approach to each emotion. (...)"
“The big star of the evening was Gustavo Gimeno. [He] once again showed his great caliber with an attentive, careful, magnificently constructed direction, extracting the best from singers, choir and orchestra.”
"Gustavo Gimeno knew how to govern everything with sapience, measurement of tempi, application of strategic contrasts, mastery and administration of dynamics and control of repetitive and obsessive passages."
"Gimeno leads the choir so suggestively that Rossini’s (...) sacred music resounds very effectively. The ear delights in this noble, beautiful singing and the excellently balanced orchestral playing, rich in nuances."
Gustavo Gimeno offers an emphatic reading of the work, taking care to ensure a skilful architecture of contrasts in the sound volumes, (...) remarkable for its emphasis and dramatic excess.
“Gimeno's new recording sets a new standard for this piece, as well as introducing us to the wonderful Luxembourg orchestra. (…) Unmissable.“
Pungent and precise is the operatic final chorus, which Gimeno sets with refulgence and theatricality rooted in tradition and open to the future.
Gimeno proved himself a wonderfully cogent, adventurous interpreter. He took bold gambles with tempo and dynamics, and made them pay off; he shaped individual phrases and entire musical paragraphs with suave assurance.
Gustavo Gimeno never lets the arc of tension break with very contrasting tempi and makes the orchestral colours blossom with velvety-soft strings and luminous wood and radiant brass.
Gimeno pushed the boundaries in Dvorák's wonderful symphony. Especially in the second movement, Gimeno's construction was masterly. (...) Gimeno and his orchestra played formidably.
That Gustavo Gimeno started out as a percussionist is evident in the way he creates stability in Stravinsky's "Apollon Musagète" without petulantly overemphasizing the rhythmic moment, as often happens with Stravinsky.
Gustavo Gimeno proves an ardent champion of César Franck's concerto-like variations indebted to Liszt, and the symphony to Franck's fascination with the chromaticism of Wagner's Tannhäuser.
It's been a while since we had a new recording of César Franck's Symphony, and it's impressively done under Gustavo Gimeno's baton.
Gustavo Gimeno’s account of the beginning of César Franck’s Symphony is exciting, very atmospheric, somber and mysterious at the same time, with an unusual richness of colours and transparency.
Gustavo Gimeno’s release with the Luxembourg Philharmonic is as red-blooded as steak tartare and as rich as mousse au chocolat with extra chippings on top.
Gimeno knows how to draw great arcs of sound, especially how to stage extreme climaxes in Bartók's work or how to make Strauss’ Till dance through his bizarre world.
The Orchestre Philharmonique du Luxembourg is conducted by a very inspired Gustavo Gimeno and plays with great refinement. Prokofiev's score has not often been heard so transparent, so perfectly balanced and sonorous.
Gimeno directed a brilliantly colorful, expansive performance of the other work on the program, Scheherazade. [...] There is no doubt this is a gifted conductor.
The mixture of heart and reason that crosses the universe of Tchaikovsky´s last three symphonies found in Gimeno´s hands an impeccable and clear translation
Under the Spanish conductor Gustavo Gimeno, the London Philharmonic Choir delivered Rossini´s not-too-solemn Mass settings with admirable fervour
The performance of the Orchestre Philharmonie du Luxembourg, in a state of grace under the firm, precise and luminous baton of Gustavo Gimeno, highlights the thousand beauties of an orchestration often served by routine
This is how it went during the great evening of the excellent Orchestre Philarmonique du Luxembourg under its young charismatic chef Gustavo Gimeno in the Philharmonie: one cannot make music more beautiful and erotic.
Young, dynamic, with great plans for the future: the Orchestre Philarmonique du Luxembourg is brilliantly positioned under its current conductor.
Zimmerman and the Orchestre Philarmonique du Luxembourg play with outstanding dynamics under Gustavo Gimeno.
La prise de son superlative aidant, on goûte la saveur de chaque intervention soliste, les tutti d’une précision d’architecte, comme le soin à installer le discours dans un souffle long.
For one, the performances throughout by the Orchestre Philharmonique du Luxembourg under Gustavo Gimeno are excellent, highly polished yet full of subtle nuance, wit and spirit.
That Gimeno is a Musician-Conductor is clearly apparent. Not only is his precision unmatched, he demonstrates a subtle ear for detail and excellently manages to achieve the balance of sound between the sections.
This is all densely intertwined by Maestro Gimeno, who is always watching out to create a solid, yet delicately transparent sound.
Gustavo Gimeno captivates with temperament and charisma, as it should be for a conductor.
Orchestra and conductor play music on the same wavelength and approach Schostakowitschs's music with musical energy.
His high musical standards and his excellent sense for Shostakovich’s music meet with a transparent orchestral sound that emphasizes the dynamic contrasts and knows how to convince.
Conductor Gustavo Gimeno knows how to develop a powerful, balanced orchestral sound. The orchestra’s rhythmic precision is excellent. (...) and the sound never became indistinguishable.
The resulting sound is as precise as it is delicate: Robert Schumann’s ‚Manfred’ overture is shaped into a scintillating piece with introspective sentimentality.
Gustavo Gimeno leads the Philharmonic with relish and ease through Prokofiev’s classically chirping Symphony no. 1, and later with spirited gusto through Rimsky-Korsakov’s "Sheherazade".
Gustavo Gimeno created a musical density that (...) displayed a captivating liveliness.
For the first time the orchestra came to the Philharmonie with its new chief conductor Gustavo Gimeno, and his handwriting is already on the wall.
Gustavo Gimeno breaks through internationally with his perfect baton technique and the enormous energy and tension that he creates.
This was an interpretation of power and insight, which illuminated the full luxuriant brilliance of Rimsky’s orchestration as well as the élan of the performers.
Mr. Gimeno, with the grace and elegance of a ballet dancer, indicated each detail clearly, eliciting some of the evening’s best orchestral effects.
Je me sens désormais à la Philharmonie comme à la maison et les gens de l’OPL sont devenus ma famille. Je n’ai plus un pied ici et un pied ailleurs. Je suis désormais entièrement là.
I love teamwork, I love to build up something together with a shared commitment and vision of the future. And we have all this at the Philharmonie and in the OPL, so I am very happy.
Gimeno knew how to keep the tension and made the musicians of the Radio Philharmonic Orchestra, who strongly supported him, excel.
Gimeno with his precise signaling knows how to get what he wants from the Gewandhausorchester. It is a pleasure to watch this most creative artistic personality at work.
(Gimeno) breaks through internationally with his perfect baton technique and the enormous energy and tension that he creates.
It's about listening. The conductor doesn't just give every beat, they react to the music. It was when he was hearing the music that he knew what to do. -Gustavo
Gustavo Gimeno is a true discovery. (…) Rarely could Tchaikovsky’s overture for 'Romeo and Juliet' be heard in such a transparent way at the Gasteig.