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The New York Times used the following words to describe playing the Baltic
Philharmonic
Chamber Orchestra under Gudmundur Emilsson's direction in
a program of world premier performances:
"...Consistently refined..."
Allan Kozinn, New York Times, November 13, 1999
Gudmundur Emilsson Conductor
Orchestral, Choral & Opera Performances
Press Reviews 1977 to the Present
in Chronological Order
Students of the Eastman School of Music [Chorus and Orchestra] and their
conductor, Gudmundur Emilsson, deserve special praise for studying that
extraordinary work The Auschwitz Oratorio by the
Polish composer Krzysztof Penderecki
I found it musically very impressive. Karl Nell, Democrat and Chronicle,
Rochester, New York, May 6, 1977
Gudmundur Emilsson's strong sensitivity for dramatic elements was obvious
[in the Iceland Symphony's performance of Borodin's Second Symphony].Jón
Ásgeirsson, Morgunblaðið, Reykjavík, April
15, 1982
Gudmundur Emilsson is a meticulous and energetic conductor.
Eyjólfur Melsted, DV, Reykjavík, April 20 , 1982
Gudmundur Emilsson is very confident in his approach, he conducts with
reserve but with authority and easily draws from the orchestra his personal
interpretation.
Sigurður Steinþórsson, NT, Reykjavík, April
22, 1982
Gudmundur Emilsson's conducting [in the Iceland Symphony's Concert of
Nordic works] was agile and and unstrained. He is swiftly approaching
the heights in his conducting; his will be an exciting career to follow.
Eyjólfur Melsted, DV, Reykjavík, September 1, 1982
Gudmundur Emilsson lacks neither energy nor confidence;
both are superb qualities in young [conductors].
Sigurður Steinþórsson, NT, Reykjavík, December
7, 1982
Gudmundur Emilsson had the courage and determination to set in motion
the events which led to the foundation of the Icelandic Chamber Orchestra.
Judging from that which has already been gained, one can affirm that
Gudmundur Emilsson has a future as a conductor.
Jón Ásgeirsson, Morgunblaðið, Reykjavík,
December 1, 1982
The Iceland Symphony Orchestra exhibited its best qualities in Mendelssohn's
Scottish Symphony; the increasing skill of our fine conductor became very
apparent. Whether he leads the orchestra through slow and graceful movements
or fast and turbulent ones, all is done thoughtfully and perceptively.
Halldór B. Runólfsson, ÞV, Reykjavík,
April 21, 1983.
It must be a pleasure to work with a conductor as fully
in command of his orchestra as Gudmundur Emilsson.
Lanstidningen, Sweden, July, 1983
The conductor Gudmundur Emilsson, is endowed with a high degree of rhythmic
sensibility and security. His baton technique is delicate and never exaggerated.
The sound [produced by the Icelandic Chamber Orchestra] is very homogeneous;
the varied program was performed with involving briskness.
Hans-Erik Dahlgren, Östersunds-Posten, Sweden, July 2, 1983
The Icelandic Chamber Orchestra's approach [under the direction of Gudmundur
Emilsson] was passionate and courageous, and there was something about
it akin to the freshness of the new experience;
the playing was of a high professional standard.
Runar Mangs, Dagens Nyheter, Stockholm, Sweden, July 6, 1983
Although the Philharmonic Chorus has been larger on previous
occasions it produced a fuller sound than before and demonstrated fine
coordination [in Handel's Judas Maccabæus] . . . . Instead of risking
his ship and crew chasing artistic idiosyncrasies, Gudmundur Emilsson
chose the calm waters and consequently steered an even voyage, which must
be considered a fine achievement by a young conductor while dealing with
the most majestic of oratorio composers.
Jón Ásgeirsson, Morgunblaðið, Reykjavík,
June 1, 1985
The chorus [The Philharmonic Chorus] was really fine. Intonation was superb
and the chorus produced a large sound without ever forcing the vocal style.
The balance between the voices was good and the general sound warm and
uniform. The singers were well prepared and delivered their parts splendidly.
Eyjólfur Melsteð, DV, Reykjavík, May 31, 1985
[The Chorus of the Icelandic Chamber Orchestra sang Henry Purcell's Fairy
Queen] with vitality and produced numerous subtle colors, atmospheric
moments and expressive details, more so than previously
demonstrated by Icelandic choruses.
Jón Ásgeirsson, Morgunblaðið, Reykjavík,
December 30, 1985
[Gudmundur Emilsson replaces an Italian conductor in the National Theatre's
production of Tosca]: . . . In general this "third premiere"
was much more polished and better performed both vocally and dramatically
then the previous ones; the author of these lines particularly enjoyed
the fact that this renewed acquaintance with the production made an even
stronger impression than the original premiere . . .
Jón Ásgeirsson, Morgunblaðið, Reykjavík,
November 25, 1986
[A concert at the Helsinki Festival]: . . . Hallgrímsson's
Violin concerto Poemi is a dazzling piece of music through which the solo
instrument speaks in an unusually natural manner . . . The soloist, Sakari
Oramo, scored an earth-shattering success with his energetic performance.
The composers countryman, [guest conductor] Gudmundur Emilsson, was in
subtle contact with the Avanti! orchestra, more so than we are accustomed
to. The orchestras immediate response to his gestures was a pleasure to
behold and the foundation on which the concert's artistic results was
built.
Harri Wessman, Huvedstadsbladed, Helsinki, August, 1989
Although Vaughan-Williams' Fantasy [on a Theme
by Thomas Tallis] is frequently performed, orchestras rarely succeed in
bringing forth the work's most subtle aspects. Here it was done. The soloist
[of the Espoo City Orchestra] presented a fine interpretation, and the
double string orchestra a delivered disciplined and refined performance
under the direction of Gudmundur Emilsson . . . . [who] displayed a profound
understanding of the music of our times.
Johan Tallgren, Huvedstadsbladed, Helsinki, February 18, 1990
Last but not least the Espoo City Orchestra's deserves
special praise for its luscious rendition of Vaughan-Williams' serene
Fantasy [on a Theme by Thomas Tallis]. Through this performance
it became apparent that the Icelandic conductor [Gudmundur Emilsson] is
a superior musician, equally at home in modern and classical repertoire.
Olavi Kauko, Helsinki Sanomat, Helsinki, February 18, 1990
The Icelandic Conductor [of Ensemble Instrumental De Grenoble] conducted
with modesty, yet his interpretation was self-assured and convincing.
No superfluous gestures were given, only those that were needed.
Music critic, Thionville, France, February 4, 1992
Through his meticulous, colourful and passionate conducting, Mr. Gudmundur
Emilsson and the instrumentalists
[of the Ensemble Instrumental De Grenoble] lead the listener into and
atmosphere
of playfulness, melancholy, and dance in compositions by Grieg, Nielsen
and Sibelius.
Germaine Vadi, Dauphiné, Grenoble, February 14, 1992
"A Master from the North" As I write these lines
Maestro Emilsson's noble character comes
first to mind as well as his flaming enthusiasm.
His bearing is tall - and his voice reveales both a musical personality
and a solid character
[who] consistently finds the perfect balance between strength and sensitivity,
resulting in magnificent
interpretation of the music at hand. We were lead into a world far beyond
the printed notes. . . .
Maestro Emilsson conducted with meticulous clarity and with his hearth
and soul.
Gabby Avila Simpson, El Commercio, Quito, Ecuador, November 28.
1993
---
The Swedish and German press used the following words to describe Emilsson's
conducting of the the World Premier Performances of Atli Heimir Sveinsson's
Opera
The Moonlight Island
in Bielefeld, Köln and Bonn in Germany in June of 1995 (concert version):
"Strong leadership."
Carl-Gunnar Åhlen, Svenska Dagbladet, Stockholm, June 21,
1995
"Precise leadership."
Constanze Stratz, General-An§eiger, Bonn, June 19, 1995
---
"A fairy-tale concert"
The Grieg (0p. 53) that Emilsson introduced to us [with the Orchestra
of the Teatro Lyrico] was one of soft chords and tender melodies that
called forth a dream-like atmosphere of Nordic landscapes veiled in fairy-tales.
. . . It also was apperent in the Prokofiev [Violin] Concerto [Nr. 2]
that tender atmospheres well suit Mr. Emilsson personal style . . . .
A totally different character emerged in Beethoven's Symphony [Nr. 2.]
in an interpretation which seemed to spring from an applied knowledge
of Beethoven's music rather then a calculated approach. . . .
Beethoven's Sympony was the climax of the concert.
Greca Piras, L'Unione Sarda, Sardinia, Italy, March 10, 1996
---
The Chinese Press
discusses the world premier in Beijing's Poly Plaza Theatre
of the staged version of Mr. Sveinsson's Moonlight Island opera:
The musician's supreme performance
and the moving plot left a lasting impression on the audiance.
People's Daily, Beijing, Peking, March 23, 1997
The first performance in Iceland was recieved thus:
Emilsson delivered his part excellently.
Jón Ásgerisson, Morgunblaðið, May 25, 1997
---
[In the youthful and exuberant Seraglio Overture] . .
.
Emilsson used his force well to maximize this exultation. . . . As the
Mozart concerto [Nr. V in A major] belonged to [virtuoso] Anton Barachovsky,
so the Beethoven Symphony No. 1 in C major belonged to the orchestra [The
Oregon Mozart Players] and the conductor. Very ably captained by Emilsson,
the musicians came together better than at any other time! . . . The [first
movement's] difficult transition from the adagio to allegro was smoothly
executed, and we were treated to a bright, gusto-filled performance of
the Haydn-like main theme. The violins were crisp and beautifully coordinated
through some hurrying, feathery passages, while the woodwinds offered
some delightful contrasts and the brass was clear and strong. . . . [The
third movement] . . . a full-blown Beethoven Scherzo, was played with
power and gusto, it was perhaps the most brilliantly performed movement
of the whole concert. . . . In the fourth movement, Emilsson . . . urged
the players to give of their best, which they did in full measure. . .
. An excellent afternoon's musical entertainment given by some very gifted
musicians.
John Farnworth, The Register Guard, Eugene, Oregon, November 3,
1998
---
The New York Times used the following words to describe playing the Baltic
Philharmonic Chamber Orchestra under Gudmundur Emilsson's direction in
a program of world premier performances:
"Consistently refined"
Allan Kozinn, New York Times, November 13, 1999
---
Review of a CD (Skifan label) of Arias and Overtures by W. A. Mozart
performed by the Baltic Philharmonic under the direction of Gudmundur
Emilsson:
The CD commences exuberantly with a very spirited and
brilliant rendition of the Overture to Mozart's The Marriage of Figaro,
in fine style and character. All the overtures . . . are performed superbly
under Emilsson's baton. . . . There is every reasons to praise Gudmundur
Emilsson and the Baltic Philharmonic . . . . their
performance here is both daring and of strong features.
Oddur Björnsson, Morgunblaðið, December 16, 1999
---
Review of a unpublished CD of world premiere recordings by international
orchestras
of compositions by Atli Heimir Sveinsson:
[Atli Heimir Sveinsson's] Hlými for orchestra [first
performed in 1965, and not again until now] acquires a unexpected freshness
in a excellent performance by the Symphony Orchestra of the Polish National
Radio and Television under the direction of Gudmundur Emilsson. . . .
The interpretation [of Emilsson and the Baltic Philharmonic Chamber Orchestra]
of Atli Heimir Sveinsson's Sturla is most impressive. . . . Sveinsson's
Doloroso is performed with a wealth of emotions . . . a true jewel of
a piece.
Ríkharður Örn Pálsson, Morgunblaðið,
June 7, 2000
---
Review of a unpublished CD of world premiere recordings by The Baltic
Philharmonic
Orchestra of compositions by Thorkell Sigurbjörnsson:
[In Sigurbjörnsson Flökt from 1962, performed by the Baltic
Philharmonic Orchestra]
Emilsson's sense of what is and is not important in post-war music vocabulary
is evident in a performance that is next to radioactive in character.
. . . The Baltic Philharmonic Orchestra [and soloist Ib Lanzky-Otto] perform
Sigurbjörnsson's Rúnir [horn concerto] with a vigor and a
contagious thirst for life that will ensure a future for this splendid
work
Ríkharður Örn Pálsson, Morgunblaðið,
June 14, 2000
---
Review of a unpublished CD of world premiere recordings by international
orchestras
of compositions by Mark Phillips:
[Mark Phillips'] Intrusus, an early work, is superbly performed by the
University Orchestra [Bloomington, Indiana] under the direction of Gudmundur
Emilsson. . . . Emilsson and the Baltic [Philharmonic Chamber Orchestra]
deliver Phillips'
Fire and Ice marvelously.
Vernharður Linnet, Morgunblaðið, June 17, 2000
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