Yves Abel
Conductor
September 2019
SAN FRANCOSCO OPERA - “Romeo and Juliet”
“The star-crossed lovers were entrapped in an opera mess worlds away from the smooth elegance of Gounod’s score effected by Canadian conductor Yves Abel...
...Conductor Yves Abel, a splendid Rossini conductor, knows how to achieve the expanses of lyricism that suspend all sense of time. And this he did effect last night from the War Memorial pit for Charles Gounod.”
Opera Today, Michael Milenski, 19th September 2019
“... the orchestra had moment of simple beauty with French-Canadian conductor Yves Abel capitalizing on the score and bringing out the mood variations the ambience required”
Opera Wire, September 2019
“The star-crossed lovers were entrapped in an opera mess worlds away from the smooth elegance of Gounod’s score effected by Canadian conductor Yves Abel...
...Conductor Yves Abel, a splendid Rossini conductor, knows how to achieve the expanses of lyricism that suspend all sense of time. And this he did effect last night from the War Memorial pit for Charles Gounod.”
Opera Today, Michael Milenski, 19th September 2019
“... the orchestra had moment of simple beauty with French-Canadian conductor Yves Abel capitalizing on the score and bringing out the mood variations the ambience required”
Opera Wire, September 2019
April 2019
BARCELONA - “Les Pecheurs des Perles”
“...The conductor Yves Abel brought a palette of many colors to Bizet’s music, highlighting his vitality, delicacy and momentum. He displayed a close affinity with the cast of singers and brought a distinctively French perfume to the orchestral playing as it alternated between bravura brilliance and intimacy, carefully balancing the volume to allow for the insufficient number of chorus voices.”
Opera, Victoria Stapells, August 2019
“...The conductor Yves Abel brought a palette of many colors to Bizet’s music, highlighting his vitality, delicacy and momentum. He displayed a close affinity with the cast of singers and brought a distinctively French perfume to the orchestral playing as it alternated between bravura brilliance and intimacy, carefully balancing the volume to allow for the insufficient number of chorus voices.”
Opera, Victoria Stapells, August 2019
December 2018
TEATRO COMUNALE DI BOLOGNA - “La Fille du Regiment”
“Este espléndido resultado de los conjuntos y coro debe atribuirse al maestro concertatore y direttore d’orchestra, el ya mencionado Yves Abel, que se mostró como un experto del mejor estilo donizettiano, con un sonido de una italianitá muy natural y fresca. Los tempos fueron en general vivos y tuvo una amplia paleta de colores y acentos orquestales correspondientes a las características de cada aria y conjunto, con chispa y melancolía, según los casos, bien dosificadas y claramente apreciables. Mantuvo en todo momento un equilibrio casi perfecto ente orquesta y cantantes y estuvo muy atento al canto de “Marie” a la que llevó casi de la mano con autoridad y delicadeza en sus momentos más líricos y románticos.”
Mundo Clasico, Fernando Peregrin Gutierrez, 4th December 2018
“...È specialmente questo a mio avviso l’obiettivo centrato dalla produzione bolognese, in primis grazie alla splendida freschezza del podio di Yves Abel, che dimostra una classe leonina nel fraseggio di stile francese, nel controllo dinamico sempre equilibrato ma mai sciapo, nei tempi correttissimi e piacevoli, nella perfetta padronanza del palcoscenico.”
Paolo T. Fiume, 9th November 2018
“Este espléndido resultado de los conjuntos y coro debe atribuirse al maestro concertatore y direttore d’orchestra, el ya mencionado Yves Abel, que se mostró como un experto del mejor estilo donizettiano, con un sonido de una italianitá muy natural y fresca. Los tempos fueron en general vivos y tuvo una amplia paleta de colores y acentos orquestales correspondientes a las características de cada aria y conjunto, con chispa y melancolía, según los casos, bien dosificadas y claramente apreciables. Mantuvo en todo momento un equilibrio casi perfecto ente orquesta y cantantes y estuvo muy atento al canto de “Marie” a la que llevó casi de la mano con autoridad y delicadeza en sus momentos más líricos y románticos.”
Mundo Clasico, Fernando Peregrin Gutierrez, 4th December 2018
“...È specialmente questo a mio avviso l’obiettivo centrato dalla produzione bolognese, in primis grazie alla splendida freschezza del podio di Yves Abel, che dimostra una classe leonina nel fraseggio di stile francese, nel controllo dinamico sempre equilibrato ma mai sciapo, nei tempi correttissimi e piacevoli, nella perfetta padronanza del palcoscenico.”
Paolo T. Fiume, 9th November 2018
August 2018
ROSSINI OPERA FESTIVAL - “Il Barbiere di Siviglia”
“La direzione di Yves Abel fa anch’essa della misura e della raffinatezza la propria cifra distintiva: il suono si
leva luminoso e ben coniuga leggerezza e pregnanza di colori, come si vede già dall’esecuzione della
Sinfonia che termina con una vera e propria ovazione. La sua lettura della partitura pare quasi ripulita di
molti degli orpelli di tradizione ma, all’interno di questo nitore di fondo, si intravedono un dinamismo e
una tensione che catturano l’attenzione, giungendo a palesare momenti di piacevole intimismo.”
OperaClick, Simone Manfredini, August 2018
“Torna, dopo ventun’anni, sul podio Yves Abel e la sua lettura è maturata, si è evoluta e si è arricchita di
sfumature. Già l’ouverture esibisce disinvolta, come un biglietto da visita, un’articolazione limpidissima di
tutte le architetture musicali, un dosaggio magistrale del rubato che fa il paio con un ammirevole riserbo di
fronte a effetti di tradizione, un crescendo impeccabile, un gusto per il colore e la dinamica sottile e
rapinoso. È un’ovazione, meritata, che giunge e prelude a una lettura bella, intelligente, mai banale,
sempre avvincente, priva di qualsivoglia affettazione o artificio fine a se stesso. La misura nelle variazioni,
la linea depurata dallo scontato e dal prevedibile non si sclerotizzano in un rigore senz’anima, anzi,
sembrano risplendere come di nuova vita, in una pulizia e in una luminosità leggiadra che si rispecchia
senza fronzoli nell’allestimento di Pierluigi Pizzi.”
Ape Musicale, Roberta Pedrotti, August 2018
“All the elements of this gorgeous production would mean little without the superlative singing and
playing. From the outset, Maestro Yves Abel led the Orchestra Sinfonica Nazionale della RAI in a
performance which drew rowdy applause and appreciation from the audience. The overture was greeted
vociferously and the intense stamping at the curtain calls were testament to the standard of the playing.
Subtle and varied, Maestro Abel found nuances and complexities in the score which added to the impact
and educative element of the performance.”
ConcertoNet, Gregory Pritchard, August 2018
“None of this possible, of course, without conductor Abel who propelled Rossini’s numbers onto plateaux
of lyricism that bordered on delirium. Of greater accomplishment was perhaps the pacing the maestro
imposed on Rossini’s parade of blockbuster numbers, allowing us to savor each of them to the fullest but
leaving us resource to sink ourselves into the opera’s two gigantic finales.”
Opera Today, Michael Milenski, August 2018
“ Yves Abel demostró que conoce bien una obra que ha dirigido en muchas ocasiones y firmó la mejor
prestación que le he visto en teatro. Además de una indiscutible solidez musical, obtuvo un magnífico
sonido de la Orquesta Nacional de la RAI a notable nivel como el verano pasado y si no pudo escapar a
algún momento de pesantez y a que predominara la brillantez sobre la elegancia, acompañó
impecablemente al canto y tradujo acertadamente y con la debida chispa, esas cascadas rítmicas, esos
vertiginosos crescendi que trufan la partitura y que son absolutamente fundamentales. Tanto como la
perfecta comunión con el montaje teatral que demostró su labor.”
Codolario, Raul Chamorro Mena, August 2018
“Yves Abel, le chef franco-canadien, les dirige avec une rare précision, un geste sûr et un souci de la
transparence. Il suit aussi le plateau avec attention avec un résultat d’une rare homogénéité. J’avoue avoir
été agréablement surpris et séduit par une approche que je n’attendais pas aussi convaincante. Il est vrai
que je n’avais pas entendu Yves Abel depuis de longues années. Il a déjà dirigé à Pesaro il Barbiere di
Siviglia en 1997 dans la mise en scène critiquée alors de Luigi Squarzina. Il revient avec une interprétation
mûre, dominée, à la fois vive et profonde, jamais à la superficie, jamais démonstrative, qui soigne les
couleurs et les rythmes, en phase parfaite avec la mise en scène.”
Wanderer, Guy Cherqui, August 2018
“La direzione di Yves Abel fa anch’essa della misura e della raffinatezza la propria cifra distintiva: il suono si
leva luminoso e ben coniuga leggerezza e pregnanza di colori, come si vede già dall’esecuzione della
Sinfonia che termina con una vera e propria ovazione. La sua lettura della partitura pare quasi ripulita di
molti degli orpelli di tradizione ma, all’interno di questo nitore di fondo, si intravedono un dinamismo e
una tensione che catturano l’attenzione, giungendo a palesare momenti di piacevole intimismo.”
OperaClick, Simone Manfredini, August 2018
“Torna, dopo ventun’anni, sul podio Yves Abel e la sua lettura è maturata, si è evoluta e si è arricchita di
sfumature. Già l’ouverture esibisce disinvolta, come un biglietto da visita, un’articolazione limpidissima di
tutte le architetture musicali, un dosaggio magistrale del rubato che fa il paio con un ammirevole riserbo di
fronte a effetti di tradizione, un crescendo impeccabile, un gusto per il colore e la dinamica sottile e
rapinoso. È un’ovazione, meritata, che giunge e prelude a una lettura bella, intelligente, mai banale,
sempre avvincente, priva di qualsivoglia affettazione o artificio fine a se stesso. La misura nelle variazioni,
la linea depurata dallo scontato e dal prevedibile non si sclerotizzano in un rigore senz’anima, anzi,
sembrano risplendere come di nuova vita, in una pulizia e in una luminosità leggiadra che si rispecchia
senza fronzoli nell’allestimento di Pierluigi Pizzi.”
Ape Musicale, Roberta Pedrotti, August 2018
“All the elements of this gorgeous production would mean little without the superlative singing and
playing. From the outset, Maestro Yves Abel led the Orchestra Sinfonica Nazionale della RAI in a
performance which drew rowdy applause and appreciation from the audience. The overture was greeted
vociferously and the intense stamping at the curtain calls were testament to the standard of the playing.
Subtle and varied, Maestro Abel found nuances and complexities in the score which added to the impact
and educative element of the performance.”
ConcertoNet, Gregory Pritchard, August 2018
“None of this possible, of course, without conductor Abel who propelled Rossini’s numbers onto plateaux
of lyricism that bordered on delirium. Of greater accomplishment was perhaps the pacing the maestro
imposed on Rossini’s parade of blockbuster numbers, allowing us to savor each of them to the fullest but
leaving us resource to sink ourselves into the opera’s two gigantic finales.”
Opera Today, Michael Milenski, August 2018
“ Yves Abel demostró que conoce bien una obra que ha dirigido en muchas ocasiones y firmó la mejor
prestación que le he visto en teatro. Además de una indiscutible solidez musical, obtuvo un magnífico
sonido de la Orquesta Nacional de la RAI a notable nivel como el verano pasado y si no pudo escapar a
algún momento de pesantez y a que predominara la brillantez sobre la elegancia, acompañó
impecablemente al canto y tradujo acertadamente y con la debida chispa, esas cascadas rítmicas, esos
vertiginosos crescendi que trufan la partitura y que son absolutamente fundamentales. Tanto como la
perfecta comunión con el montaje teatral que demostró su labor.”
Codolario, Raul Chamorro Mena, August 2018
“Yves Abel, le chef franco-canadien, les dirige avec une rare précision, un geste sûr et un souci de la
transparence. Il suit aussi le plateau avec attention avec un résultat d’une rare homogénéité. J’avoue avoir
été agréablement surpris et séduit par une approche que je n’attendais pas aussi convaincante. Il est vrai
que je n’avais pas entendu Yves Abel depuis de longues années. Il a déjà dirigé à Pesaro il Barbiere di
Siviglia en 1997 dans la mise en scène critiquée alors de Luigi Squarzina. Il revient avec une interprétation
mûre, dominée, à la fois vive et profonde, jamais à la superficie, jamais démonstrative, qui soigne les
couleurs et les rythmes, en phase parfaite avec la mise en scène.”
Wanderer, Guy Cherqui, August 2018
July 2018
OPERA DI ROMA ALLE TERME DI CARACALLA - “La Traviata”
“Il direttore franco-canadese è ormai un habitué di Caracalla, ha imparato a domarne l’acustica e sa come
anche in tali condizioni si possa e si debba dare la massima attenzione alle dinamiche, alla flessibilità del
fraseggio, ai colori, ai dettagli: una direzione calcolatissima, millimetrica, quasi cameristica, ma anche viva
e teatrale. La sua attenzione andava non solo all’orchestra, che ha risposto in modo pronto e duttile, ma
anche ai cantanti, che venivano magistralmente sorretti e indirizzati a un’interpretazione mai plateale ma
sempre misurata, mai appiattita su un sentimentalismo buono a tutti gli usi ma sensibile all’evolversi delle
situazioni drammatiche.”
Giornale della Musica, Mauro Mariani, July 2018
“La cosa più convincente della serata è la direzione di Yves Abel. Nonostante le difficoltà extra dovute alla
presenza dell’amplificazione e al palco molto grande e affollato, il maestro riesce a non perdere mai il
contatto tra buca e palco. Palco, del resto, ormai ben conosciuto da Abel: nelle scorse stagioni ha diretto la
splendida Madama Butterfly con la regia di Alex Ollé e un Barbiere di Siviglia sempre con Lorenzo Mariani.
Le sonorità create e i tempi scelti oscillano tra il giusto e il suggestivo: quando l’Orchestra del Teatro
dell’Opera di Roma si fa notare, è sempre in positivo. La gestione delle dinamiche è da manuale. Per fare
un paio di esempi: la tensione alla festa di Flora, nel momento in cui Alfredo richiama a sé tutti i convitati,
diventa palpabile con poche accortezze, come l’acceso contrasto scaturito dal volume più marcato dei
violini; oppure la sofferenza in apertura di terzo atto, sottolineata dal volume bassissimo di orchestra e poi
della voce, udibili però da tutti grazie all’amplificazione. I tempi scelti, abbastanza serrati e in contrasto con
la lentezza nei cambi scena, non consentono agli interpreti di adagiarsi troppo su acuti o braccia allargate e
spingono costantemente il dramma avanti, per dare la giusta importanza ai momenti chiave.”
Opera Click, Michelangelo Pecoraro, July 2018
“Yves Abel ha diretto l’orchestra con estrema chiarezza nella concertazione, equilibrio formale ed un ritmo
narrativo incalzante, sempre teso ma mai frettoloso. Difficile apprezzare appieno la tavolozza timbrica ed i
colori voluti in una situazione all’aperto e di amplificazione del suono ma le intenzioni sono apparse molto
belle e dense di significato e di poesia. Soprattutto notevole è stata la capacità di accompagnare e
sostenere sempre il canto.”
GB Opera, Francesco Giudiceandrea, July 2018
“Il direttore franco-canadese è ormai un habitué di Caracalla, ha imparato a domarne l’acustica e sa come
anche in tali condizioni si possa e si debba dare la massima attenzione alle dinamiche, alla flessibilità del
fraseggio, ai colori, ai dettagli: una direzione calcolatissima, millimetrica, quasi cameristica, ma anche viva
e teatrale. La sua attenzione andava non solo all’orchestra, che ha risposto in modo pronto e duttile, ma
anche ai cantanti, che venivano magistralmente sorretti e indirizzati a un’interpretazione mai plateale ma
sempre misurata, mai appiattita su un sentimentalismo buono a tutti gli usi ma sensibile all’evolversi delle
situazioni drammatiche.”
Giornale della Musica, Mauro Mariani, July 2018
“La cosa più convincente della serata è la direzione di Yves Abel. Nonostante le difficoltà extra dovute alla
presenza dell’amplificazione e al palco molto grande e affollato, il maestro riesce a non perdere mai il
contatto tra buca e palco. Palco, del resto, ormai ben conosciuto da Abel: nelle scorse stagioni ha diretto la
splendida Madama Butterfly con la regia di Alex Ollé e un Barbiere di Siviglia sempre con Lorenzo Mariani.
Le sonorità create e i tempi scelti oscillano tra il giusto e il suggestivo: quando l’Orchestra del Teatro
dell’Opera di Roma si fa notare, è sempre in positivo. La gestione delle dinamiche è da manuale. Per fare
un paio di esempi: la tensione alla festa di Flora, nel momento in cui Alfredo richiama a sé tutti i convitati,
diventa palpabile con poche accortezze, come l’acceso contrasto scaturito dal volume più marcato dei
violini; oppure la sofferenza in apertura di terzo atto, sottolineata dal volume bassissimo di orchestra e poi
della voce, udibili però da tutti grazie all’amplificazione. I tempi scelti, abbastanza serrati e in contrasto con
la lentezza nei cambi scena, non consentono agli interpreti di adagiarsi troppo su acuti o braccia allargate e
spingono costantemente il dramma avanti, per dare la giusta importanza ai momenti chiave.”
Opera Click, Michelangelo Pecoraro, July 2018
“Yves Abel ha diretto l’orchestra con estrema chiarezza nella concertazione, equilibrio formale ed un ritmo
narrativo incalzante, sempre teso ma mai frettoloso. Difficile apprezzare appieno la tavolozza timbrica ed i
colori voluti in una situazione all’aperto e di amplificazione del suono ma le intenzioni sono apparse molto
belle e dense di significato e di poesia. Soprattutto notevole è stata la capacità di accompagnare e
sostenere sempre il canto.”
GB Opera, Francesco Giudiceandrea, July 2018
April 2018
OPERA PHILADELPHIA - “Carmen”
“...there’s a real French-ness to it, too, mostly where it counts most-in the music. Conductor Yves Abel, making his debut with Opera Philadelphia, swung almost instantly into the prelude, setting a crisp, high energy reading that rarely flagged, but also had the necessary lyricism.”
Parterre, David Fox, 28th April 2018
“...there’s a real French-ness to it, too, mostly where it counts most-in the music. Conductor Yves Abel, making his debut with Opera Philadelphia, swung almost instantly into the prelude, setting a crisp, high energy reading that rarely flagged, but also had the necessary lyricism.”
Parterre, David Fox, 28th April 2018
October 2017
CANADIAN OPERA COMPANY - “L’Elisir d’Amore”
“...Toronto born conductor Yves Abel, who enjoys a great career outside this country, makes a way overdue mainstage local debut with this opera. On Wednesday night, he demonstrated total command of Donizzetti’s richly textured score, working in subtle shading of phrase and tone wherever possible. He was also masterful at managing the elastic musical relationship between orchestra and singers in this sort of work.”
Toronto Star, John Terauds, 13th October 2017
“... the internationally busy Canadian conductor Yves Abel made a belated COC debut eliciting lovely sounds from the COC Orchestra...”
Gianmarco Segato, 14th October 2017
“...Toronto born conductor Yves Abel, who enjoys a great career outside this country, makes a way overdue mainstage local debut with this opera. On Wednesday night, he demonstrated total command of Donizzetti’s richly textured score, working in subtle shading of phrase and tone wherever possible. He was also masterful at managing the elastic musical relationship between orchestra and singers in this sort of work.”
Toronto Star, John Terauds, 13th October 2017
“... the internationally busy Canadian conductor Yves Abel made a belated COC debut eliciting lovely sounds from the COC Orchestra...”
Gianmarco Segato, 14th October 2017
November 2016
SAN FRANCISCO OPERA - “Madama Butterfly”
“...conductor Yves Abel made a welcome return after an unconscionable 20-year absence to lead a performance of tenderness and dramatic urgency.”
San Francisco Chronicle, Joshua Kosman, 7th November 2016
“... Conductor Yves Abel, in his first return since the company’s 1996 “Hamlet”, led a flowing orchestral performance that highlighted the urgency and reflective tenderness of Puccini’s score...”
The Mercury News, Georgia Rowe, 7th November 2016
“...conductor Yves Abel made a welcome return after an unconscionable 20-year absence to lead a performance of tenderness and dramatic urgency.”
San Francisco Chronicle, Joshua Kosman, 7th November 2016
“... Conductor Yves Abel, in his first return since the company’s 1996 “Hamlet”, led a flowing orchestral performance that highlighted the urgency and reflective tenderness of Puccini’s score...”
The Mercury News, Georgia Rowe, 7th November 2016
August 2016
OPERA DI ROMA A CARACALLA - “Madama Butterfly”
“Yves Abel was successful in leading the dramatic tension, in harmony with a flexible orchestra always ready to follow his intentions.”
Luca della Libera, Il Messaggero, 31st July 2016
“Yves Abel was successful in leading the dramatic tension, in harmony with a flexible orchestra always ready to follow his intentions.”
Luca della Libera, Il Messaggero, 31st July 2016
July 2016
OPERA DI ROMA A CARACALLA - "Il Barbiere di Siviglia"
"…precise and suitable, Yves Abel's conducting was in full harmony with the orchestra… "
Virman Cusenza, Il Messaggero, 20th July 2016
"Congratulations to the conductor, Yves Abel, are a must. International name, specialized in the rare french repertoire, Abel classily leads the Barbiere score: and it's known how often one can hear vulgar interpretations in such a delicate and well known score of the comic Rossini repertoire. Abel reading is soft and smooth, with a sparkling sense of rhythm. The typical rossinian drive emerges excellently in the famous overture; all Rossini's interval leaps, dotted rhythm, and snappy moments Abel makes more vivid in his choose of tempi and the vigilant agogic accents in the staccati, as well in the well known storm right before the finale. The franco-canadian does not lack in elegantly accompanying the singers, communicating consistently with the stage, and executing everything with precision: the complex concertatos above all."
Stefano Ceccarelli, L'Ape Musicale, 29th July 2016
"Musically, Abel is an expert conductor who knows how to measure balances and help the singers… "
Mario Dal Bello, Citta' Nuova, 23rd July 2016
"Brillant was also the musical side. Yves Abel conducts with precision and rhythm."
Giuseppe Pennisi
"Yves Abel conducted with precision and style, without excluding freedom in the use of colors, in line with what was happening on stage"
Opera Actual, September 2016
"…precise and suitable, Yves Abel's conducting was in full harmony with the orchestra… "
Virman Cusenza, Il Messaggero, 20th July 2016
"Congratulations to the conductor, Yves Abel, are a must. International name, specialized in the rare french repertoire, Abel classily leads the Barbiere score: and it's known how often one can hear vulgar interpretations in such a delicate and well known score of the comic Rossini repertoire. Abel reading is soft and smooth, with a sparkling sense of rhythm. The typical rossinian drive emerges excellently in the famous overture; all Rossini's interval leaps, dotted rhythm, and snappy moments Abel makes more vivid in his choose of tempi and the vigilant agogic accents in the staccati, as well in the well known storm right before the finale. The franco-canadian does not lack in elegantly accompanying the singers, communicating consistently with the stage, and executing everything with precision: the complex concertatos above all."
Stefano Ceccarelli, L'Ape Musicale, 29th July 2016
"Musically, Abel is an expert conductor who knows how to measure balances and help the singers… "
Mario Dal Bello, Citta' Nuova, 23rd July 2016
"Brillant was also the musical side. Yves Abel conducts with precision and rhythm."
Giuseppe Pennisi
"Yves Abel conducted with precision and style, without excluding freedom in the use of colors, in line with what was happening on stage"
Opera Actual, September 2016
May 2016
TEATRO LA MAESTRANZA, SEVILLA - “L’Elisir d’Amore”
“The conductor, always faithful to the music score, highlighted in each moment the beauty of this opera... Abel transmitted vitality and pathos...”
Jose’ Antonio Canton, El Mundo, 17th May 2016
“The conductor, always faithful to the music score, highlighted in each moment the beauty of this opera... Abel transmitted vitality and pathos...”
Jose’ Antonio Canton, El Mundo, 17th May 2016
April 2016
SAN DIEGO OPERA - “Madama Butterfly”
“From the orchestra, Canadian conductor Yves Abel cultivated a burnished, highly dramatic account of Puccini’s rich score, yet allowed his audience to savor the many moments of its delicate instrumentation that set apart this Puccini opera from its cousins.”
Ken Herman, 18th April 2016
“The San Diego Opera Company with Canadian Yves Abel conducting (to perfection) the San Diego Symphony Orchestra...”
San Diego Examiner
“Under the baton of Canadian conductor Yves Abel, the San Diego Symphony exhibits both power and refinement”
Pat Launer, Times of San Diego, 20th April 2016
“Things get better through time, especially when accompanied by Yves Abel’s consistently exceptional blend of orchestral parlance”
Christie Grimstad, Concertonet, 21st April 2016
“Yves Abel performed Puccini’s score with impressive dramatic qualities... he brought out the immense pathos of Puccini’s score. This Butterfly left many patrons weeping tears of sympathy.”
Maria Nockin, Opera Today, 23rd April 2016
“From the orchestra, Canadian conductor Yves Abel cultivated a burnished, highly dramatic account of Puccini’s rich score, yet allowed his audience to savor the many moments of its delicate instrumentation that set apart this Puccini opera from its cousins.”
Ken Herman, 18th April 2016
“The San Diego Opera Company with Canadian Yves Abel conducting (to perfection) the San Diego Symphony Orchestra...”
San Diego Examiner
“Under the baton of Canadian conductor Yves Abel, the San Diego Symphony exhibits both power and refinement”
Pat Launer, Times of San Diego, 20th April 2016
“Things get better through time, especially when accompanied by Yves Abel’s consistently exceptional blend of orchestral parlance”
Christie Grimstad, Concertonet, 21st April 2016
“Yves Abel performed Puccini’s score with impressive dramatic qualities... he brought out the immense pathos of Puccini’s score. This Butterfly left many patrons weeping tears of sympathy.”
Maria Nockin, Opera Today, 23rd April 2016
January 2016
ROYAL OPERA HOUSE COVENT GARDEN - “La Traviata”
“Yves Abel is a cut above average as conductor, supporting his singers diligently and getting precision ensemble.”
Richard Fairman, Financial Times, 22nd January 2016
“Yves Abel is a cut above average as conductor, supporting his singers diligently and getting precision ensemble.”
Richard Fairman, Financial Times, 22nd January 2016
November 2015
NORDWESTDEUTSCHE PHILHARMONIE - Concert
“Yves Abel’ interpretation was full of contrasts, overwhelming... Yves Abel was relying on the pure efficacy of the music, while carefully leading its action. He never lacked passion... This encounter was enchanting...”
Udo Stefan Koehne
“Yves Abel’ interpretation was full of contrasts, overwhelming... Yves Abel was relying on the pure efficacy of the music, while carefully leading its action. He never lacked passion... This encounter was enchanting...”
Udo Stefan Koehne
July 2015
OPERA DI ROMA A CARACALLA - “Madama Butterfly”
“Maestro Yves Abel offered a masterful performance of the work, very difficult to surpass. His experience as a conductor acclaimed in the most important theaters in the world gave us a genial lesson of vocal accompaniment: his arm breathed with the singers’ fiato in a total and mystic conjunction.
Yves Abel demonstrated an absolute comprehension of Puccini’s psychological and theatrical language as well, involving himself in all the scene rehearsals and explaining to every singer, with humility, the subtleties of the libretto in every single moment of the opera.
The total command of the agogic flexibility was another impressive quality demonstrated by Maestro Yves Abel: the superb control of rubato was particularly evident in the most critical and complicated movements in the opera, like the love scene at the end of the first act, that was simply sublime. On the other hand, the technical difficulty caused by the amplification with microphones was resolved splendidly by the conductor.”
Andreas Selander, Opera World, August 26th 2015
“Al suo debutto a Caracalla il direttore Yves Abel e’ riuscito a mantenere una buona tensione esecutiva, in sintonia con l’orchestra, sempre pronta e duttile nel seguirne le intensioni”
Luca della Libera, Il Messaggero, July 8th, 2015
“Attenta e molto partecipe la lettura di Yves Abel sul podio”
Andre Penna, Il Manofesto, July 22nd, 2015
“La direzione di Yves Abel e’ apparsa misurata e attenta alla vocalita’”
Elisabetta Tommasini, Left, 18th June, 2015
“Maestro Yves Abel offered a masterful performance of the work, very difficult to surpass. His experience as a conductor acclaimed in the most important theaters in the world gave us a genial lesson of vocal accompaniment: his arm breathed with the singers’ fiato in a total and mystic conjunction.
Yves Abel demonstrated an absolute comprehension of Puccini’s psychological and theatrical language as well, involving himself in all the scene rehearsals and explaining to every singer, with humility, the subtleties of the libretto in every single moment of the opera.
The total command of the agogic flexibility was another impressive quality demonstrated by Maestro Yves Abel: the superb control of rubato was particularly evident in the most critical and complicated movements in the opera, like the love scene at the end of the first act, that was simply sublime. On the other hand, the technical difficulty caused by the amplification with microphones was resolved splendidly by the conductor.”
Andreas Selander, Opera World, August 26th 2015
“Al suo debutto a Caracalla il direttore Yves Abel e’ riuscito a mantenere una buona tensione esecutiva, in sintonia con l’orchestra, sempre pronta e duttile nel seguirne le intensioni”
Luca della Libera, Il Messaggero, July 8th, 2015
“Attenta e molto partecipe la lettura di Yves Abel sul podio”
Andre Penna, Il Manofesto, July 22nd, 2015
“La direzione di Yves Abel e’ apparsa misurata e attenta alla vocalita’”
Elisabetta Tommasini, Left, 18th June, 2015
May 2015
NEW NATIONAL THEATRE TOKYO - “La Traviata”
“Today the drama was created more by the Tokyo Philharmonic Orchestra conducted by Yves Abel. The restless society was captured in thrilling tempi while the solitude of Violetta in her dying bed was highlighted through the mad carnival in the last act”
Yamiuri Shimbun, 3rd June 2015
“The Tokyo Philharmonic Orchestra under Yves Abel created an energetic evening of music and the familiar score never felt routine.”
Asashi Shimbun, 1st June 2015
“Today the drama was created more by the Tokyo Philharmonic Orchestra conducted by Yves Abel. The restless society was captured in thrilling tempi while the solitude of Violetta in her dying bed was highlighted through the mad carnival in the last act”
Yamiuri Shimbun, 3rd June 2015
“The Tokyo Philharmonic Orchestra under Yves Abel created an energetic evening of music and the familiar score never felt routine.”
Asashi Shimbun, 1st June 2015
March, 2015
NORDWESTDEUTSCHE PHILHARMONIE - Concert
"A rare Wagner. An exciting Liszt. Yves Abel and the NWD Philharmonie impress.
The new principal conductor of the NWD Philharmonie, leads the orchestra with vigor through an incomparable concert evening which the public honors by long lasting applause.”
"Gratifying upbeat.
Yves Abel conducts the orchestra safely, with rhythmic precision and a balanced sound. All throughout an impressive and gratifying start of the new principal conductor.
"Almost unworldly in its beauty and everybody is having fun: the conductor, the soloist and the public
The orchestra was in a good mood and so was Yves Abel. The start of the second song-like theme of the Rhapsody in Blue was fascinating: Gershwin's rhapsody is not only about big noise and rhythm, but also about deep feelings.”
"A rare Wagner. An exciting Liszt. Yves Abel and the NWD Philharmonie impress.
The new principal conductor of the NWD Philharmonie, leads the orchestra with vigor through an incomparable concert evening which the public honors by long lasting applause.”
"Gratifying upbeat.
Yves Abel conducts the orchestra safely, with rhythmic precision and a balanced sound. All throughout an impressive and gratifying start of the new principal conductor.
"Almost unworldly in its beauty and everybody is having fun: the conductor, the soloist and the public
The orchestra was in a good mood and so was Yves Abel. The start of the second song-like theme of the Rhapsody in Blue was fascinating: Gershwin's rhapsody is not only about big noise and rhythm, but also about deep feelings.”
February, 2015
NORDWESTDEUTSCHE PHILHARMONIE - Debut Concert
“Musizieren vom Feinsten
Nordwestdeutsche Philharmonie brilliert unter seinem neuen Chef Yves Abel NORDWESTDEUTSCHE PHILHARMONIE
Gütersloh. Ein musikalischer Einstand, der das Herz eines wahren Musikliebhabers höher schlagen lässt: Der Kanadier Yves Abel, seit sechs Wochen Chefdirigent der Nordwestdeutschen Philharmonie, verfügt trotz des jungen Alters über eine beachtliche berufliche Erfahrung, er dirigierte bereits in den großen Opernhäusern von Berlin, Wien, London, oder New York, wo schon Anna Netrebko oder Thomas Hampson unter seinem Dirigat auftraten. Vom "sensiblen Orchesterklang" schwärmen die Kritiker, von seinem handwerklichen und gestalterischen Können ebenso.
Ein luxuriöses Konzertprogramm bot Abel an, mit zwei Orchesterwerken der im Abstand von zwei Jahren geborenen Komponisten Franz Liszt und Richard Wagner, die sich als Schwiegervater und Schwiegersohn auch familiär nahe standen. Der liebsten, frisch angetrauten Frau Cosima, der unehelichen Tochter Liszts, widmete der 57-jährige Wagner aus Anlass ihres 33. Geburtstags das Ständchen "Siegfried-Idyll". Eine Pastellmalerei aus einer von politischen und persönlichen Dramen verschonten Zeit, die Wagner in einem Landhaus in Tribschen am Vierwaldstättersee See verbrachte. Nach der Geburt seines Sohnes Siegfried knüpfte er an musikalische Elemente seiner gleichnamigen Oper an und versah das Stück mit Reminiszenzen an die familiären Begebenheiten.
ANZEIGE
Die NWD Philharmonie wirkte unter dem milden Dirigat von Yves Abel meist wie ein delikates Kammerorchester, das nur mit wenigen ausgiebigeren Steigerungen die romantischen Schwärmereien heraufbeschwor. Ein dezentes, sublimes Musizieren vom Feinsten.
"Nur rastlos betätigt sich der Mann" sagt Faust bei Goethe, was auch den energiegeladenen Yves Abel beim Dirigieren der großen "Faust"-Sinfonie von Franz Liszt durchaus auszeichnete. Weit über das damals Geläufige ging das einstündige Werk, in Gütersloh rein instrumental präsentiert (es gibt auch die Version mit Männerchor und Tenor), und bleibt bis heute, mit scharfen Charakterstudien der Goethe-Protagonisten Faust, Gretchen und Mephistopheles in drei Sätzen, eher ein Geheimtipp für Kenner.
Mit fünf Themen wird das Innenleben von Faust dargestellt: Bratschen und Celli zeichnen seine Zweifel, die Violinen spiegeln seine Wut und den Schmerz wieder, in kurzen Ausrufen der Hörner und Klarinetten äußert sich die Sehnsucht, während die Trompeten seinen Mut und die Kraft ins Bewusstsein rufen. Die Motive sind kunstvoll verknüpft.
Der Zuhörer konnte nur staunen, wie der Dirigent sie stets spannungsgeladen ausarbeitete, sich dabei in der komplizierten Materie selbst wohl fühlte und das Orchester zum perfekten Miteinander und zu virtuosen solistischen Einsätzen animierte. Ein mit Unschuld skizzierter Gretchen-Satz und das groteske Finale, in dem der Teufel als "der Geist, der stets verneint" musikalisch karikiert wurde, komplettierten den bravourösen Auftritt der NWD Philharmonie und ihres neuen charismatischen Chefs.”
Eugenie Kusch, Neue Westfälische, February 17, 2015
“Musizieren vom Feinsten
Nordwestdeutsche Philharmonie brilliert unter seinem neuen Chef Yves Abel NORDWESTDEUTSCHE PHILHARMONIE
Gütersloh. Ein musikalischer Einstand, der das Herz eines wahren Musikliebhabers höher schlagen lässt: Der Kanadier Yves Abel, seit sechs Wochen Chefdirigent der Nordwestdeutschen Philharmonie, verfügt trotz des jungen Alters über eine beachtliche berufliche Erfahrung, er dirigierte bereits in den großen Opernhäusern von Berlin, Wien, London, oder New York, wo schon Anna Netrebko oder Thomas Hampson unter seinem Dirigat auftraten. Vom "sensiblen Orchesterklang" schwärmen die Kritiker, von seinem handwerklichen und gestalterischen Können ebenso.
Ein luxuriöses Konzertprogramm bot Abel an, mit zwei Orchesterwerken der im Abstand von zwei Jahren geborenen Komponisten Franz Liszt und Richard Wagner, die sich als Schwiegervater und Schwiegersohn auch familiär nahe standen. Der liebsten, frisch angetrauten Frau Cosima, der unehelichen Tochter Liszts, widmete der 57-jährige Wagner aus Anlass ihres 33. Geburtstags das Ständchen "Siegfried-Idyll". Eine Pastellmalerei aus einer von politischen und persönlichen Dramen verschonten Zeit, die Wagner in einem Landhaus in Tribschen am Vierwaldstättersee See verbrachte. Nach der Geburt seines Sohnes Siegfried knüpfte er an musikalische Elemente seiner gleichnamigen Oper an und versah das Stück mit Reminiszenzen an die familiären Begebenheiten.
ANZEIGE
Die NWD Philharmonie wirkte unter dem milden Dirigat von Yves Abel meist wie ein delikates Kammerorchester, das nur mit wenigen ausgiebigeren Steigerungen die romantischen Schwärmereien heraufbeschwor. Ein dezentes, sublimes Musizieren vom Feinsten.
"Nur rastlos betätigt sich der Mann" sagt Faust bei Goethe, was auch den energiegeladenen Yves Abel beim Dirigieren der großen "Faust"-Sinfonie von Franz Liszt durchaus auszeichnete. Weit über das damals Geläufige ging das einstündige Werk, in Gütersloh rein instrumental präsentiert (es gibt auch die Version mit Männerchor und Tenor), und bleibt bis heute, mit scharfen Charakterstudien der Goethe-Protagonisten Faust, Gretchen und Mephistopheles in drei Sätzen, eher ein Geheimtipp für Kenner.
Mit fünf Themen wird das Innenleben von Faust dargestellt: Bratschen und Celli zeichnen seine Zweifel, die Violinen spiegeln seine Wut und den Schmerz wieder, in kurzen Ausrufen der Hörner und Klarinetten äußert sich die Sehnsucht, während die Trompeten seinen Mut und die Kraft ins Bewusstsein rufen. Die Motive sind kunstvoll verknüpft.
Der Zuhörer konnte nur staunen, wie der Dirigent sie stets spannungsgeladen ausarbeitete, sich dabei in der komplizierten Materie selbst wohl fühlte und das Orchester zum perfekten Miteinander und zu virtuosen solistischen Einsätzen animierte. Ein mit Unschuld skizzierter Gretchen-Satz und das groteske Finale, in dem der Teufel als "der Geist, der stets verneint" musikalisch karikiert wurde, komplettierten den bravourösen Auftritt der NWD Philharmonie und ihres neuen charismatischen Chefs.”
Eugenie Kusch, Neue Westfälische, February 17, 2015
| “Bad Oeynhausen. Sein Einstand in Bad Oeynhausen war ein überwältigender Erfolg. Denn Yves Abel, der neue Chefdirigent der Nordwestdeutschen Philharmonie überzeugte das Konzertpublikum im Theater im Park nicht nur mit einer ungewöhnlichen Programmauswahl, sondern auch mit einem grandiosen Spiel. Mehrmals mussten sich der in Kanada geborene Dirigent und die Musiker im Anschluss dem Applaus des Publikums stellen. Mit Richard Wagners "Siegfried-Idyll" und der "Faust-Sinfonie" in drei Charakterbildern nach Johann Wolfgang von Goethe haben die Herforder zwei sinfonische Raritäten ausgewählt, die selten zu hören sind. Den Auftakt beim Konzert im Theater im Park macht Wagner, für den nur eine kleine Besetzung des Orchesters auf der Bühne erschien. Denn das Siegfried-Idyll hatte der Komponist seiner Frau zum 33. Geburtstag komponiert und das Stück wurde erstmals im Treppenhaus des Ehepaares aufgeführt. Frei nach dem Motto, was Siegfried und Brünnhilde in Wagners Oper können, gilt auch für Richard und Cosima. |
February, 2015
METROPOLITAN OPERA - Les Contes d’Hoffmann - Live HD Broadcast
“This was another excellent performance from the Met. ...Yves Abel, a brilliant conductor, conducted with energy and delicacy.” Michael Tanner, The Spectator (UK), February 2, 2015
“When everyone sings at the end ‘Love lends man greatness. Tears make him greater still’ it brought great poignancy to these concluding moments. Complicit in the success of this revival was French-Canadian conductor Yves Abel and the instinctive, exuberant, evocative and idiomatic account of the score he elicited from the always great sounding Met orchestra … especially as here in HD.”
Jim Pritchard, Seen and Heard, February 3, 2015
“This was another excellent performance from the Met. ...Yves Abel, a brilliant conductor, conducted with energy and delicacy.” Michael Tanner, The Spectator (UK), February 2, 2015
“When everyone sings at the end ‘Love lends man greatness. Tears make him greater still’ it brought great poignancy to these concluding moments. Complicit in the success of this revival was French-Canadian conductor Yves Abel and the instinctive, exuberant, evocative and idiomatic account of the score he elicited from the always great sounding Met orchestra … especially as here in HD.”
Jim Pritchard, Seen and Heard, February 3, 2015
January, 2015
METROPOLITAN OPERA - Les Contes d’Hoffmann -
“Even with all the scholarly debate over what constitutes an 'authentic' representation of the score, the quirkiness and variety of Offenbach’s music were always evident, and Abel seemed to relish every twist and turn, drawing strong, evocative playing from the orchestra... his direction enriched and enlivened the music, conjuring up dark magic from the pit."
Eric C. Simpson, New York Classical Review, January 15, 2015
"Yves Abel leads the Met orchestra in a stirring reading of Offenbach's score."
Wilborn Hampton, Huffingtonpost, January 14, 2015
"...Yves Abel, who led a graceful, agile orchestral performance..."
Zachary Woolfe, New York Times, January 14, 2015
"Yves Abel’s conducting of the Met’s mix-and-match edition of Offenbach’s score had an energetic dancing quality, and he was alert to Mr. Grigolo’s spontaneous revisions of Offenbach’s rhythms."
James Jorden, New York Observer, January 22, 2015
“Even with all the scholarly debate over what constitutes an 'authentic' representation of the score, the quirkiness and variety of Offenbach’s music were always evident, and Abel seemed to relish every twist and turn, drawing strong, evocative playing from the orchestra... his direction enriched and enlivened the music, conjuring up dark magic from the pit."
Eric C. Simpson, New York Classical Review, January 15, 2015
"Yves Abel leads the Met orchestra in a stirring reading of Offenbach's score."
Wilborn Hampton, Huffingtonpost, January 14, 2015
"...Yves Abel, who led a graceful, agile orchestral performance..."
Zachary Woolfe, New York Times, January 14, 2015
"Yves Abel’s conducting of the Met’s mix-and-match edition of Offenbach’s score had an energetic dancing quality, and he was alert to Mr. Grigolo’s spontaneous revisions of Offenbach’s rhythms."
James Jorden, New York Observer, January 22, 2015
November 2014
OPERA DE PARIS - Hansel und Gretel -
“Beyond its wagnerian elements, the score contains a wealth of melody characteristic of German romanticism, As well as numerous tunes borrowed from its folk tradition. In the pit, under the baton of Yves Abel, the orchestra of the Opera de Paris completely presents that richness of colors, of textures, and of flavors. Yes, I speak about flavors, because, in this show we are in the domain of musical and theatrical gluttony! From this production, on which the wind of the Christmas spirit already blows, one leaves full of joy and energy, humming the beautiful memorized melodies.”
Jean-Marc Piriou, Bachtrack, 22nd November, 2014
“Yves Abel masterfully conducts the Orchestre de l'Opera de Paris.
Hänsel und Gretel triumphs!”
Marie Torrès, Artistikrezo, 26th November 2014
“Yves Abel, finds the perfect balance between stage and orchestra. Considering the particular of the score, this is not always the case. From the start of the overture, one is taken by the sumptuous and beautiful mystery of the brasses and woodwinds under the Wagnerian blanket of strings. Which then leads to a series of German popular songs.
The orchestra generates an atmosphere of fairy tales, dark and heavy, without losing in vivacity and liveliness! The musicians show a magnificent complicity that translates itself into a performance full of nuances and surprises.”
Sabino Pena Arcia, Classiquenews, 26th November 2014
“...with the amazing orchestra of the Opera de Paris, Yves Abel creates enchantments, nightmares, and tableaux vivants.”
Quobuz, 19 November 2014
“And overall, with a sumptuous orchestra...and the sensible and nuanced conducting of Yves Abel...’
Francois Lehel, Opera magazine,
“Beyond its wagnerian elements, the score contains a wealth of melody characteristic of German romanticism, As well as numerous tunes borrowed from its folk tradition. In the pit, under the baton of Yves Abel, the orchestra of the Opera de Paris completely presents that richness of colors, of textures, and of flavors. Yes, I speak about flavors, because, in this show we are in the domain of musical and theatrical gluttony! From this production, on which the wind of the Christmas spirit already blows, one leaves full of joy and energy, humming the beautiful memorized melodies.”
Jean-Marc Piriou, Bachtrack, 22nd November, 2014
“Yves Abel masterfully conducts the Orchestre de l'Opera de Paris.
Hänsel und Gretel triumphs!”
Marie Torrès, Artistikrezo, 26th November 2014
“Yves Abel, finds the perfect balance between stage and orchestra. Considering the particular of the score, this is not always the case. From the start of the overture, one is taken by the sumptuous and beautiful mystery of the brasses and woodwinds under the Wagnerian blanket of strings. Which then leads to a series of German popular songs.
The orchestra generates an atmosphere of fairy tales, dark and heavy, without losing in vivacity and liveliness! The musicians show a magnificent complicity that translates itself into a performance full of nuances and surprises.”
Sabino Pena Arcia, Classiquenews, 26th November 2014
“...with the amazing orchestra of the Opera de Paris, Yves Abel creates enchantments, nightmares, and tableaux vivants.”
Quobuz, 19 November 2014
“And overall, with a sumptuous orchestra...and the sensible and nuanced conducting of Yves Abel...’
Francois Lehel, Opera magazine,
September 13, 2014
OPERA DE OVIEDO - Otello -
“One has to say it very clearly and often. The presence, now frequent, of Yves Abel in the pit of the Campoamor Theater, is a luxury.
I think it is significant that his next opera engagements after Oviedo are the Paris Opera and the Metropolitan Opera. The work that Abel realizes with each new lyric appearance is intense and the results impeccable from start to finish.
The quality of the conducting is one of the basic pillars in acquiring the good results we witnessed recently. Contrasting dynamics, Verdian colors, dramatic accents always intense, lyricism in the intimate passages, the capacity to define each role through the accompaniment and a magnificent response and performance from the Oviedo Filarmonia, were the principal characteristics of Abel’s conducting which will remain in one’s memory and which reminds one of the importance of the conductor for each production.
He is, without doubt, the key.”
Cosme Marina, La Nueva Espana, September 13, 2014
“One has to say it very clearly and often. The presence, now frequent, of Yves Abel in the pit of the Campoamor Theater, is a luxury.
I think it is significant that his next opera engagements after Oviedo are the Paris Opera and the Metropolitan Opera. The work that Abel realizes with each new lyric appearance is intense and the results impeccable from start to finish.
The quality of the conducting is one of the basic pillars in acquiring the good results we witnessed recently. Contrasting dynamics, Verdian colors, dramatic accents always intense, lyricism in the intimate passages, the capacity to define each role through the accompaniment and a magnificent response and performance from the Oviedo Filarmonia, were the principal characteristics of Abel’s conducting which will remain in one’s memory and which reminds one of the importance of the conductor for each production.
He is, without doubt, the key.”
Cosme Marina, La Nueva Espana, September 13, 2014
March 21, 2014
Yves Abel has been announced as the new chief conductor of the Nordwestdeutsche Philharmonie, based in Herford (Germany). He will take over from Eugene Tzigane and Andris Nelsons starting from january 2015
April 2012
ROYAL OPERA HOUSE - “La fille du regiment”
"Yves Abel, conducting with silky finesse, restores a sense of french delicacy to Donizetti's frothy score"
Neil Fischer, The Times, 21 April 2012
"Yves Abel' s idiomatic conducting is lively and assured"
Graham Rogers, The Stage, 20 April 2012
"...nimbly conducted by Yves Abel"
Rupert Christiansen, The Telegraph, 20 April 2012
"The ROH chorus and orchestra, under conductor Yves Abel, entered the spirit of the opera comique with gusto. Donizetti triumphed"
Agnes Kory, Musical Criticism, 22 April 2012
"Yves Abel, conducting with silky finesse, restores a sense of french delicacy to Donizetti's frothy score"
Neil Fischer, The Times, 21 April 2012
"Yves Abel' s idiomatic conducting is lively and assured"
Graham Rogers, The Stage, 20 April 2012
"...nimbly conducted by Yves Abel"
Rupert Christiansen, The Telegraph, 20 April 2012
"The ROH chorus and orchestra, under conductor Yves Abel, entered the spirit of the opera comique with gusto. Donizetti triumphed"
Agnes Kory, Musical Criticism, 22 April 2012
November 2011
ORCHESTRA HAYDN
"Concerto diretto dalla bacchetta gioiosamente imperiosa di Yves Abel, con orchestra compatta, tesa all'esecuzione precisa, mai sfilacciata, coloratissima di timbri... un Abel misuratissimo seguiva il prezioso svolgersi di una partitura fatta principalmente di delicatezza..."
Emilia Campagna, Il Corriere Musicale, 17 Novembre 2011
"Concerto diretto dalla bacchetta gioiosamente imperiosa di Yves Abel, con orchestra compatta, tesa all'esecuzione precisa, mai sfilacciata, coloratissima di timbri... un Abel misuratissimo seguiva il prezioso svolgersi di una partitura fatta principalmente di delicatezza..."
Emilia Campagna, Il Corriere Musicale, 17 Novembre 2011
November 2010
ORCHESTRA HAYDN DI BOLZANO
"Delius, Faurè, Strauss e Respighi diretta dalla bacchetta gioiosamente imperiosa di Yves Abel. Programma per certi versi leggero ma non troppo, grazie a una direzione che non indulgeva mai alla retorica più facile: “Summer night at the river” di Delius era un palpito, affidato prima ai fiati – sezione morbida come nelle migliori serate – poi con discrezione al corpo esteso degli archi: e un Abel misuratissimo seguiva il prezioso svolgersi di una partitura fatta principalmente di delicatezza; così come la delicatezza riservata, l’espressione accorata ma contenuta addomesticavano certi wagnerismi di “The walk to the Paradise Garden” dal “Romeo and Juliet” dello stesso Delius. Dove invece la retorica si sfogava allegramente era la “Boutique Fantasque” di Respighi..."
Emilia Campagna
"Delius, Faurè, Strauss e Respighi diretta dalla bacchetta gioiosamente imperiosa di Yves Abel. Programma per certi versi leggero ma non troppo, grazie a una direzione che non indulgeva mai alla retorica più facile: “Summer night at the river” di Delius era un palpito, affidato prima ai fiati – sezione morbida come nelle migliori serate – poi con discrezione al corpo esteso degli archi: e un Abel misuratissimo seguiva il prezioso svolgersi di una partitura fatta principalmente di delicatezza; così come la delicatezza riservata, l’espressione accorata ma contenuta addomesticavano certi wagnerismi di “The walk to the Paradise Garden” dal “Romeo and Juliet” dello stesso Delius. Dove invece la retorica si sfogava allegramente era la “Boutique Fantasque” di Respighi..."
Emilia Campagna
September 2010
NORDWESTDEUTSCHE PHILARMONIE
"...unter der Leitung des fabelhaften Gastdirigenten Yves Abel"
Matthias Gans, Neue Westfaelische Zeitung, 21 September 2010
"Als Frankokanadier hat Yves Abel eine besondere Affinitaet zum franzoesischen repertoire... Abel begegnete den Werken der beiden so unterschiedlichen Impressionisten mit betonter Sachlichkeit. Er wählte geradezu flotte Tempi, vermied jede unnötige Tempoverschleppung , dirigierte mit sparsamen, kurzen, knappen, Bewegungen und verzichtete auf jegliche Art von Effekthascherei...Doch gerade durch dieses entschlackende Freilegen des absoluten musikalischen Kerns öffnete er die Sicht auf die unendliche Farbigkeit dieser Kompositionen....Herrlich das unendliche Fluten der motivischen Gebilde, der permanente Wechsel der Farben, ihr stetiges Ineinandergreifen und Auseinanderstreben. Das alles dargeboten von einem blendend aufgelegten Orchester, führte zu mitreißenden enden Klangerlebnissen."
Gisbert Hänsel, Neue Westfälische Zeitung, 20 September 2010
"...unter der Leitung des fabelhaften Gastdirigenten Yves Abel"
Matthias Gans, Neue Westfaelische Zeitung, 21 September 2010
"Als Frankokanadier hat Yves Abel eine besondere Affinitaet zum franzoesischen repertoire... Abel begegnete den Werken der beiden so unterschiedlichen Impressionisten mit betonter Sachlichkeit. Er wählte geradezu flotte Tempi, vermied jede unnötige Tempoverschleppung , dirigierte mit sparsamen, kurzen, knappen, Bewegungen und verzichtete auf jegliche Art von Effekthascherei...Doch gerade durch dieses entschlackende Freilegen des absoluten musikalischen Kerns öffnete er die Sicht auf die unendliche Farbigkeit dieser Kompositionen....Herrlich das unendliche Fluten der motivischen Gebilde, der permanente Wechsel der Farben, ihr stetiges Ineinandergreifen und Auseinanderstreben. Das alles dargeboten von einem blendend aufgelegten Orchester, führte zu mitreißenden enden Klangerlebnissen."
Gisbert Hänsel, Neue Westfälische Zeitung, 20 September 2010
August 2010
ROSSINI OPERA FESTIVAL - 'La cenerentola' -
"Leading the Bologna orchestra, Yves Abel provided the most authoritative conducting thus far on a well-paced performance. If his tempos tested the singers, they were well up to the challenge."
Carlos Maria Solare, Opera, November 2010
"Dal podio, Yves Abel dà un contributo decisivo alla brillantezza complessa dello spettacolo con una lettura di notevole profondità e sottigliezza, efficace nella ricerca dei colori (risponde bene l'orchestra del Comunale di Bologna), trascinante nello stacco dei tempi, nervosi ma non precipitosi, raffinata nella sottigliezza di un fraseggio mobile e franto, sempre «pensato».
Compagnia di canto quasi del tutto omogenea ad alto livello."
Cesare Galla, Bresciaoggi, 13 August 2010
"La direzione tersa e divertita di Yves Abel"
Fabio Vittorini, Il Manifesto, 13 August 2010
“El canadiense Yves Abel dirigio estupendamente a la orquesta del teatro Comunal de Bolonia...”
Juan Angel Del Campo, El Pais, 13 August 2010
"L'eccellente direttore canadese Yves Abel"
Mario Messinis, Il Gazzettino 15 August 2010
"In the pit, the Orchestra del Teatro Comunale di Bologna responded to Abel’s gestures with verve and sensitivity."
Leonard Turnevicius, The Hamilton Spectator, 15 August 2010
"Leading the Bologna orchestra, Yves Abel provided the most authoritative conducting thus far on a well-paced performance. If his tempos tested the singers, they were well up to the challenge."
Carlos Maria Solare, Opera, November 2010
"Dal podio, Yves Abel dà un contributo decisivo alla brillantezza complessa dello spettacolo con una lettura di notevole profondità e sottigliezza, efficace nella ricerca dei colori (risponde bene l'orchestra del Comunale di Bologna), trascinante nello stacco dei tempi, nervosi ma non precipitosi, raffinata nella sottigliezza di un fraseggio mobile e franto, sempre «pensato».
Compagnia di canto quasi del tutto omogenea ad alto livello."
Cesare Galla, Bresciaoggi, 13 August 2010
"La direzione tersa e divertita di Yves Abel"
Fabio Vittorini, Il Manifesto, 13 August 2010
“El canadiense Yves Abel dirigio estupendamente a la orquesta del teatro Comunal de Bolonia...”
Juan Angel Del Campo, El Pais, 13 August 2010
"L'eccellente direttore canadese Yves Abel"
Mario Messinis, Il Gazzettino 15 August 2010
"In the pit, the Orchestra del Teatro Comunale di Bologna responded to Abel’s gestures with verve and sensitivity."
Leonard Turnevicius, The Hamilton Spectator, 15 August 2010
May 2010
ROYAL OPERA HOUSE - 'La traviata'
"Conducting, Yves Abel gives the score some French polish, ensuring smooth playing and sympathetic rapport with his singers."
Neil Fisher, The Times, 13 May 2010
"Yves Abel draws playing of sensitivity and verve from the orchestra."
Andrew Clark, Financial Times, 14 May 2010
"Yves Abel, making his ROH debut, guided the ROH orchestra with finesse"
Melanie Eskenazi, Music OMH, 17 May 2010
"The transition from the prelude to the start of the party was beautifully conducted by Yves Abel, and Act 3 unfolded with impressively gathering weight."
Peter Reed, Opera, July 2010
"Abel kept the evening well-sprung and swift on its toes from the pit, and made some great moments with Gheorghiu: in the juddering, heart-pounding pulse that he set for the dazed finale of Act Two, and in the last act, where the thread of sound that came from her throat alongside the sweet, lonely heedlessness of the violin sounds, as thin and wavering as a candle flame, the gentle valedictory of “Addio del passato”, the gruff grunts of the horns under her dying song, “Se una pudica virgine”, made the tragedy as piercing as it could be. I’m afraid I was in floods."
Ismene Brown, The Arts Desk, 09 July 2010
"Abel's first act prelude and many other incisive touches revealed an instinctive Traviata conductor. "
Martin Kettle, The Guardian, 09 July 2010
"To his credit, Yves Abel, the conductor, sticks to [Gheoghiu] like glue, and there is much to admire about his general pacing."
Richard Morrison, The Times, 09 July 2010
"Conducting, Yves Abel gives the score some French polish, ensuring smooth playing and sympathetic rapport with his singers."
Neil Fisher, The Times, 13 May 2010
"Yves Abel draws playing of sensitivity and verve from the orchestra."
Andrew Clark, Financial Times, 14 May 2010
"Yves Abel, making his ROH debut, guided the ROH orchestra with finesse"
Melanie Eskenazi, Music OMH, 17 May 2010
"The transition from the prelude to the start of the party was beautifully conducted by Yves Abel, and Act 3 unfolded with impressively gathering weight."
Peter Reed, Opera, July 2010
"Abel kept the evening well-sprung and swift on its toes from the pit, and made some great moments with Gheorghiu: in the juddering, heart-pounding pulse that he set for the dazed finale of Act Two, and in the last act, where the thread of sound that came from her throat alongside the sweet, lonely heedlessness of the violin sounds, as thin and wavering as a candle flame, the gentle valedictory of “Addio del passato”, the gruff grunts of the horns under her dying song, “Se una pudica virgine”, made the tragedy as piercing as it could be. I’m afraid I was in floods."
Ismene Brown, The Arts Desk, 09 July 2010
"Abel's first act prelude and many other incisive touches revealed an instinctive Traviata conductor. "
Martin Kettle, The Guardian, 09 July 2010
"To his credit, Yves Abel, the conductor, sticks to [Gheoghiu] like glue, and there is much to admire about his general pacing."
Richard Morrison, The Times, 09 July 2010
April 2010
METROPOLITAN OPERA - 'La traviata'
"Yves Abel showed admirable refinement from the very first bars of the overture"
An Unanmplified Voice, 19 April 2010
"Yves Abel showed admirable refinement from the very first bars of the overture"
An Unanmplified Voice, 19 April 2010