was the celebration of the Russian school of music. The orchestra
acquired radiance under Vakhtang Matchavariani. The composer and the
director were parts of one whole. It is hard to imagine any better
performance of Shostakovich’s Symphony Number Six than in the
interpretation given by Matchavariani. LÜBECKER NACHRICHTEN.
WOLFGANG TSCHECHNE. GERMANY.
29) E. Mikeladze Georgia State Symphony
is a high-class orchestra characterized with lofty emotionality
and the precision of sounding. Conductor Matchavariani governs and
controls the whole process with a gentle hand, which creates a great
impression. RHEINISCHE POST. HEIDE OEHMEN. GERMANY.
30) Georgia State Symphony is an orchestra
of a first class international category. Maestro Matchavariani’s
movements are light, individual and clearly delineated as if dancing
a minuet. He conducts the orchestra with determination using those
invisible ropes. WESTDEUTSCHE ZEITUNG. HORST M. BECKER. GERMANY.
31) Georgia State Symphony orchestra and Vakhtang Matchavariani at Concertgebouw Amsterdam.
Before the Festival Ouverture, the 2 nd piano concerto and the 10-th Sypmphony were
played, conductor Vakhtang Matchavariani from Georgia payed tribute to his father,
composer Alexi Matchavariani. This artist was a contemporary of Shostakovich.
He also experienced the decline of the Soviet Regime and subsequently the artistic
turnaround. That's why it is not surprising that two parts of the Suite " The Knight in the
Panterskin " had a striking resemblance with for example Shostakovich 5-th Symphony.
Father Matchavariani had started experimenting with more atonal malodylines.
With the American pianist Ana-Maria Vera it luckily is progression.Vera is known
a beautiful young lady who with calm assurance gives way to her musical vision.
The tenacity and power that the conductor Vakhtang Matchavariani showed in the 10-th Symphony of Shostakovich was an example of how this orchestra has a characteristic way of playing with which it in any case got a lot of acclaim with the Amsterdam public.
JOS RUITERS, NOORD HOLLANDS DAGBLAD. 14-08-2002.
32) Matchavariani elevated Prokofiev’s
Symphony Number Five to a supreme intimate significance, having
used no traditional music ideology. He gave the peace an amazingly
rich and transparent musical sounding. MÄRKISCHE ODERZEITUNG.
PETER BUSKE. GERMANY.
33) Once again, Vakhtang Matchavariani
has demonstrated his unusual sense of rhythm presenting Prokofiev’s
Symphony Number Five, especially in the Symphony’s allegro
and dancing rhythm parts. MÄRKISCHE ALLGEMEINE. JÖRG ZIMMERMAN.
34) V. Matchavariani spellbound the orchestra.
He looked presentable and explosive. His communicative and emotional
presentation radiated the light. LA TRIBUNELE PROGRES. NICOLE MICHALON.
35) It was opera BORIS GODUNOV. How very
nice that we had a chance to enjoy Vakhtang Matchavariani in that
opera, the director of a high class. The public gave him a prolonged
standing ovation. LE PETIT BLEU. ALINE POISSENOT. FRANCE.
36) The first performance in Israel of
the Georgian conductor Vakhtang Matchavariani was a nice surprise,
in a warm and enthusiastic conducting language that caught that
caught the orchestra’s players and fascinated the audience.
MA’ARIV. ORA BINUR. ISRAEL.
37.) Matchavariani the man with the answers.
Georgian music lovers commemorated the 95th birthday of famous Georgian composer Alexi Matchavariani at a concert held at Tbilisi musical centre on November 14. The Georgia National Symphony Orchestra was conducted by Vakhtang Matchavariani, his son, a conductor widely experienced and respected in Europe.
The concert began with Matchavariani’s Third Symphonic Suit from the ballet Othello. This was first performed in 1957 at the Tbilisi State Opera, and swiftly achieved international recognition, being staged in many cities worldwide. On the basis of the music alone, you can see why. Matchavariani’s music turns this on its head, by combining this with a warm lyricism and deep devotion to music itself which puts this intellectualism into context. Yes, that part of life exists, but we all have a fundamental humanity, expressed through soaring violin lines, superb orchestration and organic harmony and counterpoint.
People did seem to be a bit taller after hearing this music, and seeing how Vakhtang Matchavariani instilled the sense of the importance of this work, that it had a universality beyond 'interpretation'.
The second half of the concert was the premiere of symphonic suite The Taming of the Shrew. This was a thoroughly enjoyable romp, Shakespeare’s Shrew reappearing in a motif when least expected, emotion suddenly leavened by playfulness, argument dissolving into the drama that had created it. This is was what Shakespeare would have composed himself, as Matchavariani clearly had the same connection with truth that Shakespeare had, and knew exactly what to do about it.
The audience was deeply appreciative of both music and performance, as any audience would have been. Matchavariani thoroughly deserves a more prominent place in the classical canon.
By Rumwold Leigh. "Messenger". 17.11.2008.
38.) HATS OFF GENTLEMEN.
On 30 October internationally famous Georgian conductor Vakhtang Machavariani gave a
concert of the work of Mussorgsky,Prokofiev and his father Aleksi Machavariani at Tbilisi
It was a risk devoting the second half of the programme to Aleksi Machavariani's music for
the ballet "The Taming of the Shrew",particulary as it was the world premiere of this piece.
It is a substantial work,certainly not incidental music,and in a way it was unfortunate that
this was the premiere,as it will repay considerable future study.
It grabs the audience from the first however,and in an unusual way.The first bars declare
"Watch out,watch out,there's a shrew about",and you never know how seriously to take
what is being said throughout. It is very difficult to maintain such a tone for any length of
time without being misunderstood,but this music and this performance pulled this off,in
an excellent rendering of the light comedy of Shakespeare's play.Within a short while you
know that this is going to be the highlight of the show.The orchestration is flawless and
very satisfying for the performers,who each have a considerable part and plenty to say,
the music darting around from one section to another like a gymnast flinging himself about
on the rings.The deeply suggestive tempo,the musical equivalent of rapidly raising eyebrows,is maintained even in the more solemn parts,when the consequences of all the
jollity are reflected on,but nothing gets in the way of the fundamental triumph of fun when
the shrew is tamed,but into a wiser shrew,at the end.
Like all bloodthirsty reviewers you wait for the misplaced effect,mistiming,failure of expres-
sion,wrong choice or misplaced note in this piece.In this music,and this performance of it,
this reviewer waited in vain.The piece is brilliant,like the way it was played,but it has far
greater substance than a work which has brilliance alone.When you write reviews people tell you not to be too positive or negative because people will think it is a put up job.If this newspaper wants to sack me for telling the truth,let it.
If Russia wants to start another war and Georgia can choose its weapon,it should choose
the music of Aleksi Machavariani.
By Rumwold Leigh. "Messenger". 03.11.2009.
39.) HATS OFF GENTLEMEN.
On 30 October internationally famous Georgian conductor Vakhtang Machavariani gave
a concert of the work of Mussorgsky,Prokofiev and his father Aleksi Machavariani at Tbilisi
The evening began with Mussorgsky's famous tone poem "Night on a Bare Mountain".......
In this rendering this was finely controlled,tonal appropriateness appearing to be one of Vakhtang Machavariani's characteristics as a conductor.Another is that he seems to be
interested in what the composer actualy meant,rather than what other people are supposed
to infer from it,something always particulary noticeable in the way people render Russian
music.Many Western conductors except their orchestras to drown Rusiian music in
tortuous sweeps and groans,as if written by a loquacious drunk going berserk in a bar.
This completely misses the subcutaneous fatalism at the heart of all Russian music,
extracted simply by playing the notes.To this extend Night on a Bare Mountain does not sound very Russian,but Vakhtang Machavariani and his highly proficient orchestra were
able to convey the fact that it is not only universal but very much a piece of 1886,when
Russian aristocrats were busy showing how modern they were by developing an iterest
in spirits and ghoulies inherent in many Western countries long before.
The second piece was Prokofiev's 3 rd Piano Concerto.....
By Rumwold Leigh. "Messenger". 03.11.2009.
The Georgian, Russian and Soviet Press
40) The Moscow Conservatory Grand Concert
Hall. The Moscow State Symphony Orchestra is performing Brahms’s
Symphony Number Four, one of the peaks of a symphonic genre in the
world. Conductor Matcavariani excited us with his depth, lyricism
and philosophical conception in reading of the peace, which clearly
corroborates Matcavariani’s solid musical skill.
SOVETSKAYA KULTURA. JULY 14, 1981. M. VERSHININ
41) Twenty-nine year old Vakhtang Matchavariani
and the Moscow State Symphony Orchestra are presenting Schubert’s
(Tragic) Symphony Number Four in the Tchaikovski Concert Hall in
Moscow, which I am inclined to interpret as a significant and monumental
presentation. All this is unexpected, but very convincing. On the
whole, the event is understood as the conductor’s success,
a daring step in the musician’s career. Matcavariani offered
a magnificent partnership to pianist Petrov in Brahms’s Concerto
SOVETSKAYA MUZIKA NO.10, 1982. G. SHOKHMAN
42) This is what Tikhon Khrennikov said,
the People’s Artist of the USSR, Hero of Socialist Labor,
Winner of the Lenin and the State Prizes, First Secretary of the
Union of Soviet Composers: May I note the artistic skill of a young
conductor Vaktang Matchavariani, who in my opinion, will considerably
add to the good name of the Soviet school of conductors.
SOVETSKAYA KULTURA ARTICLE SYNDICATED TO KOMUNISTI. OCTOBER 23,
43) I first met Vakhtang Matchavariani
last year in Leningrad, and I was charmed. He is a serious musician
with a highly developed taste and feelings. He was brought up in
the musical world. As a conductor he possesses a rare individuality.
He is a very sensitive and suave musician. I think a great and widely
recognized career is in store for him.
MOSCOW. OCTOBER 22, 1985. INTERVIEW WITH ART CRITIC O. NEMEROVSKAYA
44) Possessing outstanding musical talent,
elaborate musical technique, fine and precise gesture as well as
flawless artistic taste and temperament, Matchavariani and the orchestra
today demonstrated a high-class musical performance.
ZARYA VOSTOKA. NOVEMBER 20, 1988. ALEXANDER SHAVERDZASVILI
|Photo By Stephane de Bourgies