Calderon, Rani - Conductor

“On the musical side things are going on very well and Rani Calderon, at the head of the Orchestre symphonique et lyrique de Nancy, an orchestra which the maestro is making grow extremely well, offers a problematic, varied, passionate Mozart, one would say modern, if the adjective didn't lend itself to ambiguous interpretation. The action and the music are definitely married in a perfect way and every moment receives its right attention, even those usually overlooked."

 

 

“Rani Caldeorn understood perfectly how to turn the recurring sorrowful torrents into powerful expression… in the second movement and in the finale the circumspect conductor drove the musicians in a tempo-delirium and in this way communicated the panic horror and later – the victory.”

 

 

 

“Coming down from Nancy, where he is music director of the Opéra national de Lorraine, Rani Calderon conducts here the Orchestre de Montpellier Languedoc Roussillon with the energy and subtleties known to be his since a long while. Sustained tempo, flexibility, balance and respect of the different styles of Weill and Puccini, he makes the particularities of each one of them sound with the same vigor.“

 

 

 

 

“from the beginning one notices the thorough preparation. Under the conducting of the Israeli conductor Rani Calderon, the orchestra plays wonderfully with homogeneity, secure style, drive and at the same time precision.”

 

 

 

 

"In the pit, the Israeli Rani Calderon – especially appreciated at the Opera of Nancy - knows how to bring out the richness of the writing, balance the colors (prolog of Francesca da Rimini) and motivate the orchestra and the chorus with elegant gestures which avoid any pathos. An operatic conductor who sets off enthusiasm and contributes considerably to the success of this original show.”

 

 

 

“It is no small merit, to be able to resist the temptations of showing originality, especially by pushing the tempi. His are extremely true to a Mozart reading which does not neglect a thing in order to keep the whole. Vigilant and tirelessly precise, he obtains a lively and nuanced interpretation of high classe from the orchestra, while at the same time playing efficiently the continuo part on the cembalo.”

 

 

 

 

“From the violent calls of the lower registers of the strings, in the beginning of the first movement, the orchestra sounded solid, secure, attentive to the indications of the conductors, while moving amidst the lyrical and pastoral moods, to turn back to the crisis which concludes dry and enigmatic.”