… große Melodielinien, Pathos und intensives Musizieren - eben viel slawische Seele! …  

...  Boguslaw Dawidow,  …a conductor of great stature, musically speaking, with a clear beat and marvelous rapport with his orchestra that produced a truly magnificent Viennese sound. …   ...romance and humor in hand…

… Maestro Dawidow’s baton  technique was precise and clear as we’ve ever seen, …

… Amazing were hands of the conductor who conducted without the score…

“Siberian  Musical  Thrill”
Czas,   Krakow – 1995
…5th  Tchaykovski’s was heard as perfect, as  it was perfectly performed almost 30 years ago by  great Leningrad Philharmonic under the baton of legendary Evgeni Mravinsky !   Russian impetus, Slavic tenderness of cantilena,  professional discipline of all ensemble.   Perfect interpretation prepeard by Maestro Boguslaw Dawidow and consequently developed from the first timid bars  to  the  majestic crowning of the finale coda.  That all has cause the impulsive storm of applause.  …

Badener  Tagblat, 1995
… Polish Conductor, Boguslaw Dawidow very charily leads the Orchestra with only necessary gesture,  full of energy and inspired vigorous animation, absolutely possessing the ensemble…

Brugger Tagblat,  1994
... The Orchestra performed gorgeously under Boguslaw Dawidow’s natural  and perfectly accurate leadership…

A culture of sound and richly varied music

Frankfurter Allgeneine Zeitung, 1993

… after the finale of Prokofiev’s Classical Symphony, performed as an encore, the audience burst into such long applause, that the orchestra repeated this lively last part of the Symphony with greatest virtuosity.
… The Polish Chamber Philharmonic performed both pieces without excessive pathos, with extraordinary precision, exhibiting almost perfect combination of discipline and feeling of musical expression. Boguslaw Dawidow retrained from excessive conducting interference. His unpretentious and restrained direction was  sufficient to make the philharmonic act as a well-oiled machine. …

Chamber  Philharmonie

El Correo Espagnol – El pueblo Vasco - 1993

…passion and mastery , a conductor Boguslaw Dawidow, and absolute professional of the wand who completely possess and identifies himself with the orchestra. …
… Beethoven was present in the concert, conducted with enthusiasm and exigency by Dawidow, the Symphony was full of real life.   … music of the last movement was an explosion of harmoniousness and orchestral coloration. …
… Once again Dawidow conducted his musicians with perfect gesture. …



An embarrassment of Viennese riches

Take the music of the Johann Strauss family, add a very good orchestra fronted by a Music Director with personality-plus, include a soprano who “sings like an angel” and present two solo fiddlers who could out fiddle any other fiddlers and you have a sure-fire successful concert program. Such was the program lineup at the Ferguson Center for the Arts on Friday night. The occasion was the visit of the Opole Philharmonic Symphony Orchestra from Poland to present a Vienna Gala Program of Viennese music by Johann senior and junior along with Lehar and Verdi. To those who love classical music so many names of well known conductors spring to mind, for instance Maazel, Slatkin, Tilson-Thomas, Masur, Jansons and so on, but what about Boguslaw Dawidow, Music Director of the Opole? Unknown on this side of the “pond” maybe but a conductor of great stature, musically speaking, with a clear beat and marvelous rapport with his orchestra that produced a truly magnificent Viennese sound.

It is so true that European orchestras sound differently to their American and even British counterparts and that was made dramatically clear with the Maestro’s downbeat for the opener of the night, Strauss junior’s Overture, “Die Fledermaus.” The Opole had a very unique sound that obviously had to do with the musician’s seating. Cellos in front of the conductor and divided strings as per European fashion but usually first violins on the left and second violins on the right but it was the Opole violas on the right and this contributed to a wonderful homogeneity of  (Polish?)  orchestral sound. There was romance and humor on hand and for a concert that began at 8pm and came to a close at 10-45pm, there was so much to enjoy and relish, too much of a good thing? – not at all.

Here was an “embarrassment of riches” that held the concertgoers spellbound, captivated and enthralled. There were twenty four musical items, the program divided into four distinct sections with a soprano solo in each, leading to the always anticipated two “encores” that close any Vienna Gala Program especially the New Year concert at the Musikverein in Vienna. All the favorites were there with probably two that were not so well known. Considering that the Marco Polo label presents the entire output of Strauss the junior on 53 compact discs, there is plenty of material to choose from. The Opole gave an excellently masterful performance of “Kunstlerleben (Artists Life) Waltz” and by the time they reached the “Banditen Galop” the orchestra was well and truly warmed up. The “Pizzicato Polka” was played most mellifluously and restrained, thereby showcasing the quality of the Opole string sections, while the “Emperor’s Waltz” very appropriately was played most majestically.

The “Perpetuum Mobile” was performed in a way that this reviewer had not heard at any time, not even by the Viennese, most likely because they are Viennese. As it stands it is a fun piece but Maestro Dawidow and his colleagues endowed it with a great deal more fun than usual. As the music progressed, each section of the orchestra as it was highlighted stood and as they played took a bow. For example the cello section stood whilst playing and took a bow upon which the audience, joining in the fun applauded every time as each section followed suit, violins, violas, oboe, flute, double basses, with the violas - when the conductor was not looking - humorously stealing an extra two bows to which the audience responded most appreciatively. Needless to say, the performance matched the ebullience (fun guy) of the Maestro with both he and the musicians clearly enjoying themselves. Even so in conversation with the Maestro, he pointed out the difficulty of performing the Strauss family music in actually taxing the musicians more so than one would think.

Izabela Matula was the soprano soloist of the evening who gave an outstanding exhibition of the glory of the human voice with a mesmerizing vocal range and amazing dynamics, no microphone needed as she projected her voice radiantly into the auditorium. For the opera/operetta lovers in the audience Ms.Matula regaled them with renditions of music from Strauss junior’s “Wiener Blut”, Verdi`s “I Vespri Siciliana,” Lehar`s “Paganini” and also his “Giuditta.” Whilst the soloist was vivacious, provocative and sparkling, the Maestro and his colleagues provided sensitive accompaniment to match the mood, indeed a wonderful “mini-recital” bringing another dimension to an already enjoyable evening.
As the evening progressed the concert digressed from the printed program with what may be called “bonus encores.” The concertmaster, Andre Krawiec gave a wondrous performance of Spanish composer/violinist Pablo Sarasate`s “Ziegeunerweisen” (Gypsy Airs) that was both sultry and dashing with true Gypsy vigor and rich timbre from his instrument.  The concertmaster’s companion on the desk, Ms.Ewa Rydlewska played a most heartrending “Liebeslied” that would have filled Fritz Kreisler with admiration.

All good things must come to an end and ultimately the orchestra came to the traditional encore conclusion for a Vienna Gala Program, “An der Schonen Blauen Donau Waltzer” – The Blue Danube. Only here, with the very pianissimo opening measures, there was no interruption from audience applause as in the Musikverein, most likely because the audience was not Viennese, yet the Maestro and his orchestra played it as though they were. The second obligatory encore was the famous and ever popular “Radetzky March” kickstarted by the side drum introduction and executed most militarily and even here the fun did not stop, for while the concertgoers were clapping in time to the music, the Maestro and the orchestra suddenly stopped catching out and surprising the audience, resulting in thunderous and vociferous applause at the conclusion of the piece.
For music lovers unable to attend the New Year concerts in Vienna for whatever reason, take heart it couldn’t get any better than Friday night with possibly the Opole and Maestro Dawidow giving the Viennese a run for their money on their home ground and in front of their own “fans.” Now that would be something to hear. Does one good to let the hair down now and again.

Tom Steel
Gazette – Journal, February 17, 2011



Opole Philharmonic delights at George Mason

”The orchestra performed the Mozart with a light and airy touch, although string entrances were occasionally a bit rushed. Maestro Dawidow’s baton technique was as precise and clear as we’ve ever seen, so perhaps these minor glitches were due more to the string section’s anticipation of the beat. In any event, the overall effect of the overture was puckish and pleasing at the same time, something Mozart surely would have appreciated.”
”Though a small, regional orchestra, the Philharmonic didn’t fear to attack Beethoven’s heroic Third Symphony as its concluding work. Taken as a whole, this was a thoughtful, competent, often impassioned performance by a small orchestra performing at the very top of its game, although, on occasion, the same jumpy “offsides” in the string section, kept this performance from absolute perfection much as in the opening Mozart overture.”

”The Philharmonic approached the Beethoven Third as a kind of giant bridge between two musical eras, interpreting the work, for the most part, with classical precision while simultaneously unleashing the surging Romantic power inherent in the brass and emphasizing, when necessary, the occasional, compelling dissonances, particularly in the opening movement.”

”Maestro Dawidow, paradoxically, enhanced the symphony’s energy and exuberance by emphasizing the strain between the fastidiousness of tradition and the messiness of pure emotion driven by the brand-new twin ideals of democracy and personal freedom, emphasizing the point in a particularly stirring performance of its final movement.”

Terry Ponick
The Washington Times, February 13, 2011



Polish orchestra exhibits mastery at Mechanics Hall

"The orchestra produced a lush Romantic sound in the lengthy introduction..."

"The orchestra was the perfect partner, sensitively tempering its entrances so as not to cover the piano, yet giving the soloist the support that was needed to convey the musical message.... The performance of the entire concerto was supple, elegant and effortless. "

"The orchestra played with a textural transparency that illuminated the inner voices and revealed parts that are often not evident in more Romantic readings. There was continuity to the performance as one phrase led seamlessly to the next, producing a cohesive and satisfying whole. In addition, there were carefully controlled and executed dynamics and lovely little swells in the arch of the phrases. It was an interesting, fascinating, and totally believable performance. "

"After another standing ovation the orchestra launched into a rousing rendition of “The Stars and Stripes Forever March,” which brought an appreciative roar from the audience, who joined the performance with enthusiastic clapping. Everyone left the hall smiling. "

Joyce Tamer
Worcester Telegram &Gazette Reviewer, February 18, 2011



Polish Orchestra Delivers Elegant Chopin, Beethoven

" This large ensemble is marked in particular by a most lovely string sound, which infused the entire concert of works by Mozart, Chopin and Beethoven.  The sound was near-golden, with a polished (or should it be Polish-ed?) sheen that maintained its warm tone from pianissimo passages to fortissimo, providing a velvety effect when needed, as well as a stateliness and elegance that make the concert-going experience so satisfying."

" Soloist and orchestra gave a splendid account of the Chopin concerto, with its unusually long and dramatic orchestral introduction and its exquisite solo passages. Mikhailov played with both fire and delicacy, negotiating the dense note clusters and the runs and arpeggios with equal ease. He received fine accompaniment from the orchestra in full and from individual players (nice passages of horn and bassoon solos behind the piano in the first allegro maestoso movement, for example). The second romance movement simply floated off the stage, with lovely and delicate strings behind a soloist playing with great intensity and emotion. (...) The final rondo-vivace movement opens with a familiar dance-like melody, and the strings again provided a wonderful cushion behind the soloist throughout. "

" Beethoven's Third Symphony, the "Eroica," (...) is one grand piece, one of heroic proportions, and the Polish players put considerable spirit, energy and skill into its interpretation in Greenville. (...)
The lighter scherzo: allegro vivace that followed featured fast tempi and crisp attacks throughout. (...) Music director Boguslaw Dawidow, while conducting with economical yet expressive movements, seemed content to let the music open up, rather than pop out. The waltz between bolder moments at the opening of the fourth finale: allegro molto movement was a model of grace and clarity, for example, and the theme-and-variations of the final movement was nicely done. (...) The strings, as indicated before, were terrific; the winds were very good; the brass crisp without blaring. The horns seemed slightly on the high side of the pitch on occasion, but the horns' hunting call in the second movement of the Beethoven symphony was carried off with great skill."

Steve Row
Classical Voice of North Carolina (Arts Journal in North Carolina), February 10, 2011



Concert at ECU

"The program consisted of works by Mozart, Chopin and Beethoven, under the baton of Boguslaw Dawidow, music director and conductor, these musicians and their guest artist, pianist Evgeni Mikhailov, received audience acclaim through standing ovations, feet stamping, clapped hands and shouts of “Bravo ... Bravissimo.” In between the standing ovations, the audience listened in relaxed aura of collective euphoria — absolutely amazing!"
"Amazing, too, were the hands of the conductor who conducted without a score, which is standard in Western Europe. Twice he invited the audience to stay for encores using these expressive hands to communicate stay, sit, clap, et al. Souza’s “Stars and Stripes” was a rousing climax to an evening sublime and brought down the house; an emotional response that brought tears to the faces of a few musicians."

"The works performed were an interesting combination of compositions in terms of virtuosity, tempi and sound relationships.... A night to remember and to be repeated. Bravo Opole! "

Jane Coogan
The Sun Journal, February 19, 2011



Center Stage: Two dazzling events in one week

”…Polish Philharmonic was not only big, it was grand, playing with a bubbly, light sparkle, brisk tempos, and a delightful sense of humor. Conductor Boguslaw Dawidow displayed a real musical knowledge and immense enthusiasm as well as a real stage presence. This extraordinary Concert Orchestra is making its American debut, and I would suggest that, if you missed this concert and you happen to read that they are playing in your home town, run, do not walk, and get a ticket for The Opole Philharmonic of Poland performing a Vienna Gala.”

Marsha Wagner
Island Reporter, February 2011



"Maestro Dawidow and the Opole Philharmonic Orchestra offered great melodious lines, pathos and intense playing with great Slavic spirit."

Marion Eigl
Wiener Zeitung, November 2009


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