Arthur Arnold is one of the rare conductors who not only possesses a flawless technique, but also inspires the orchestra, giving the individual musicians creative freedom.
In the Amsterdam Concertgebouw, Arnold conducted with authority and all of his gestures spoke of emotion. With the symphonic poem, The Swan of Tuonela by Sibelius, he immediately took listeners to higher atmospheres. The depth in sound from the strings was remarkable.
In Tchaikovsky's Symphony No. 6, the Pathetique, Arnold was completely at home, witnessed by the calm and organic build up where he created the necessary space for the tragic undertones of this work. Moments of excitement were well measured, never becoming empty fanfares. Even in the third movement the music was introspective. And then the unbelievable happened: after the Allegro Molto Vivace, the traditional applause was absent. Arnold held the tension, and then with perfect timing commenced the final slow movement. The lamenting was executedin pure honesty.
Rimsky-Korsakov's Scheherazade and Stravinsky's Firebird are both pieces with which orchestras like to show off. There are plenty of virtuoso solos and showy orchestral moments. But Arnold and his orchestra approached these compositions as Russian fairy tales, as musical stories that are more about colour and atmosphere. Arnold knows undeniably how to tell a musical story. The sweeping strokes of the percussion were not without effect, while the shimmering strings and wind solos were performed with fantasy, casting a spell of firebirds, dancing princesses and evil magicians.
The music developed gloriously, like a shimmering fairytale world of reflecting gold and splendid, glowing diamonds. As one, the orchestra followed the smooth movements of conductor Arthur Arnold.
The Moscow Symphony Orchestra, once again convincingly conducted by Dutch conductor Arthur Arnold, performed Tchaikovsky’s opera Jevgeny Onjegin Tuesday night in the Amsterdam Concertgebouw. For a third consecutive summer they were guests in this famous hall. Arnold sustained the sighs of love for Olga in the first act with support, and sketched a sultry accompaniment for the excellent singing of mezzo Irina Romisjevskaja. The haunting mood in Tatiana's letter scene was well initiated by the orchestra. Excellent measured dynamics made the duel between Lensky and Onjegin truly exciting.
The Russians played an entirely Russian program under the strong and convincing leadership of Arthur Arnold, who, until his two performances in the Concertgebouw two weeks ago, was a virtually unknown Dutch conductor. Arthur Arnold radiates serenity and natural authority. He conducted the great repertoire in grand style and in tranquil tempi that allowed the typical Russian sound of the orchestra to flourish, thanks to an excellent balance.
The Moscow Symphony Orchestra was exceptionally convincing. This was mainly due to young Dutch conductor Arthur Arnold, who had his debut in the most beautiful concert hall of the Netherlands. Arnold, cellist in a former life and taught by, among others, Hans Vonk, looks already like a tried and tested conductor. He has a comfortable small and extremely musical beat and maintains a compelling and encouraging eye contact with his musicians.
The orchestra played music that is in the genes of every Russian musician: Tchaikovsky, Prokofiev and Rimsky-Korsakov. Wednesday night Arthur Arnold inspired the orchestra to grand achievement. He immediately created a great musical tension and thrilling atmosphere in Tchaikovsky’s overture Romeo & Juliette. He built the work in a magisterial way. There is little one can do to ruin Tchaikovsky’s love theme, but this evening it became one of the most beautiful melodies ever written.