Amit Peled “The flair of the young Rostropovich’’ From the United States to Europe to the Middle East and Asia, Israeli cellist Amit Peled, a musician of profound artistry and charismatic stage presence, is acclaimed as one of the most exciting instrumentalists on the concert stage today. As a strong advocate of breaking boundaries between performers and the public, trying to promote and share classical music with wider audiences, Peled was recently praised by The Baltimore Suns Tim Smith: Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says well need more of if classical music is to survive. Peled has performed as a soloist with many orchestras and in the worlds major concert halls such as: Carnegie Hall and Alice Tully Hall, New York; Salle Gaveau, Paris; Wigmore Hall, London; Konzerthaus, Berlin; and Tel Avivs Mann Auditorium. Following his enthusiastically received Alice Tully Hall concerto debut playing the Hindemith cello concerto, The New York Times described his Glowing tone, a seductive timbre and an emotionally pointed approach to phrasing that made you want to hear him again. During the 2011/12 season, Peled embarked on an extensive concerto debut tour in the US and Germany with the Nordwest Philharmonie, performing both Shostakovich concerto no. 1 and Victor Herberts cello concerto, visiting nineteen different cities. Moreover, Peled joined the legendary Krzysztof Penderecki for his cello concerto in Chicagos Millennium Park; performed the Elgar and Shostakovich concertos with Maestro Michael Stern and the IRIS Orchestra; performed Haydns C Major cello concerto with Nicola Luisotti and the San Francisco Opera Orchestra; and, performed the Schumann concerto with the Israel Chamber Orchestra. After an enthusiastic recital debut at the Kennedy Center, Peled will return to that prestigious stage in the 2012/13 season. As a recording artist, Peled will release his third Centaur Records CD Reflections in the summer of 2012. Peleds previous two CDs, The Jewish Soul and Cellobration (Centaur Records), are critically acclaimed. Fanfare Magazine stated By all evidence, Amit Peled is a superb cellist. His technical prowess in the Davidoff and Ligeti vouchsafe that; and his tone, of pellucid purity, gleams with a glint of gold in the slow, lyrical numbers. Peled is also a frequent guest artist, performing and giving master classes at prestigious summer music festivals such as the Marlboro Music Festival, Newport Music Festival, Seattle Chamber Music Festival, Heifetz International Music Institute, Schleswig Holstein and Euro Arts Festivals in Germany, Gotland Festival in Sweden, Prussia Cove Festival in England, The Violoncello Forum in Spain, and the Mizra International Academy and Festival in Israel. Amit Peled delivers on Herbert’s Cello Concerto No. 2 Well before his operettas “Babes in Toyland” and “Naughty Marietta” made him famous, Victor Herbert had a thriving career as a cellist, conductor and orchestral composer, and his Cello Concerto No. 2 still surfaces from time to time. It’s a piece full of big pretensions and bigger gestures, and cellist Amit Peled was just the man to fill the bill as soloist in the Nordwest Deutsche Philharmonic’s performance at the George Mason Center for the Arts on Sunday. Peled, a faculty member at Peabody Conservatory, is a rumpled-looking larger-than-life figure on stage. His Guarneri seems small as he envelops it, but the sounds that emerge are enormous — enormous and hard-edged (there were times when he overpowered the whole orchestra). Most of all, Peled is a big gesture man. His bow arm swoops in arcs at the ends of phrases, and he rivets the first-desk violins with the intense gaze of a hypnotist as he waits for his next entrance. In all this, he and Herbert might have been soul mates. Herbert’s concerto is a juicy, showy concoction with an angular theme that anchors the first and last movements and a lyrical middle movement full of light-opera cliches (although at the time this was written, in 1894, they were not yet cliches). Peled, with a bow arm that produced both machine-gun speed, power and clarity in the fiendish spiccato chords of the last movement and a sense of heartfelt melodrama in the Andante movement, read Herbert’s intent splendidly. Conductor Eugene Tzigane and his excellent midsize orchestra moved flexibly with Peled’s rhythmic liberties. youtu.be/YRoqGu2Vd90
Posted on: Wed, 03 Sep 2014 06:15:24 +0000
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