biography
repertoire
e-mail
Reviews
SELECTED REVIEWS
FROM THE ITALIAN AND
FOREIGN PRESS

“The Overture from ‘The Marriage of Figaro’ by Mozart and Beethoven’s Symphony No. 4… Driven at an exhilarating pace by Barbieri’s direction, the orchestral double bill was full of noteworthy intuition causing the chamber-music nature of the two works to sparkle, and making full use of the smaller ensemble. The internal tension given to the details of the composition was fierier than the loud clamouring of a large orchestra flexing its muscles, and, justifiably, sent the audience into raptures.”
La Repubblica

“La Serva Padrona by G. B. Pergolesi … La Scala’s choice was well chosen and the execution inspired. The conductor Adriano Maria Barbieri imbued the performance with a sparkling and always proper movement… A resounding success … hugely applauded.”
Corriere della Sera

"... A growing enjoyment, culminating in warm applause for Schubert’s tremulously romantic Symphony No. 5 in Bb, interpreted by Barbieri, underlined with expressive intensity and love and sound musical logic.”
La Gazzetta di Mantova


“The Overture from Don Giovanni and Beethoven’s Fifth Symphony … discipline and concentration, constantly excellent sortitas of the individual instruments of the Orchestra da Camera di Mantova, perfect intonation in this wonderful evening confidently conducted with a lively sense of substance by Barbieri, always with a spirit of gentle and judicious vigour. The audience reserved a long and satisfied applause for all concerned.”
La Gazzetta di Mantova

“A triumphant opening to the “Tempo d’Orchestra” season, with the Orchestra da Camera di Mantova under the direction of Adriano Maria Barbieri … an intense performance of Beethoven’s Fifth Symphony. The relationship between the orchestra and Barbieri is a fine example of teamwork, of an understanding characterised by a continuous search for subtlety of expression, acuity, phrasing and colour.
La Voce di Mantova

 “Beethoven’s Ninth Symphony:  the Orchestra G. Verdi di Milano surrendered itself to the director and was fashioned and moulded by his measured and incisive gestures. He guided the orchestra through the changes in volume testing the dynamic elasticity therein, increasing its strength only to let it fall back to pianissimo and then explore new gentle aural subtleties. Triumphant applause and standing ovations”.
La Prealpina

“… Barbieri’s work on the podium is not based solely on tension but also on certainty; under his precise and meticulous gestures the orchestra knows exactly what to do. He achieves an ensemble work of great harmony … Wolfgang Schneiderhan … also found a perfect understanding under the guidance of the Milanese conductor who accompanied him with discretion and taste.”
Salzburger Tagblatt

 “Donizetti’s ‘Le Convenienze Teatrali … Adriano Barbieri directed the orchestra with skill, authority and spirit, handling a score made difficult by the continuous movement of style from the comic to serious parody.”
Il Giornale

 “…From the outset the conductor knew exactly how to create a penetrating atmosphere suited to the understanding of the music. His great mastery of the orchestra as an instrument was immediately evident, manifesting itself in a varied and expressive manner. The Camerata Academica del Mozarteum presented a harmonious and artistically commendable performance … A delightful concert which will remain with us, and all the more so, for its intriguing and inspired interpretation.”
Salzburger Volksblatt

“… The Orchestra da Camera di Milano presented to the public two Haydn symphonies and a Mozart concerto. … conducted with clarity of gesture and profound sensitivity by Adriano Maria Barbieri and thus confirming his outstanding performances of last season.”
Corriere della Sera

 “… I Cameristi della Scala directed by Adriano Maria Barbieri showed their true belief in this music, originally commissioned for the church, (The Seven Last Words of Christ on the Cross by F. J. Haydn): giving great attention to the timbre and equilibrium of voice and restoring a sense of humility to the music with no sacrificing of its musicality. … An interpretation at once balanced, contained, pleasing, and entirely persuasive.”
La Repubblica

 “… Tre Piccolissime Musiche Notturne per Orchestra by the young Turinese composer Nicola Campogrande, beautiful short pieces creating exacting and suggestive resonances, presented with absolute finesse which almost exhausted the orchestra who showed their ability to evoke the most diverse atmospheres and their rich range of musical sensitivity … Beethoven’s Seventh Symphony … excellent orchestra superbly conducted by Barbieri … found a beautiful balance, above all in the splendid Allegretto, performed with a profound sensitivity and a perfect tuning of musical discourse. An exhilarating finale. The audience at fever pitch. A standing ovation which raised the roof.”
Il Risveglio

--