PRESS

| INTERVIEW|

Tosca’s choice to love and die. Daniel Oren for “Il Messaggero”

[…]What is fascinating about Tosca? «The way he deals with the subject of the regime, of corruption; he dedicates the whole of the second act to it. The opera opens with the chords of Scarpia, the powerful chief of police. He uses brass instruments. Dark, disturbing sounds that make us reflect even today on the danger of totalitarianism. But the most touching aspect is how he then manages, in such a dramatic opera, to introduce lyricism and a lot of poetry. And love». Read the full interview by S. Antonucci (ITA)

| INTERVIEW|

Daniel Oren talks to ToscaTeen blog

“When conducting, you have to communicate to the orchestra, you have to communicate the emotions to the chorus, to the singers, and then we all have to communicate il brivido dietro la schiena – the shiver behind the back, to the public. Bernstein did all of this. If you don’t succeed in doing all that, if you’re not communicating the “big” emotions, I personally think it’s better not to be a musician.”
Read the full interview by Josh Green

| INTERVIEW|

Daniel Oren speaks to Operawire

Maestro Oren spoke with OperaWire in his dressing room at the Royal Ballet and Opera of London just before his final performance of “Aida” on February 12. Journalist Mike Hardy asked him what qualities a great conductor should have, as well as the best way of studying a new piece: “Learn, yes, study, but then I’m sure that I’m also giving from my interpretation. It becomes then completely my interpretation – and it’s possible that it changes every night[…]”. Oren also told some stories about his friendship with Pavarotti, his experiences with Karajan, and Bernstein. Read the full interview below.

| news|

Daniel Oren is awarded the Abbiati Prize for the best production category

“Fromental Halévy’s La Juive, an unusual grand opéra absent from Turin for almost 150 years, opened the season with Daniel Oren’s accurate and impassioned conducting. Oren translated the romantic combination of historical reconstruction and exasperated passions by leading a select vocal cast in which Gregory Kunde (lyric/epic Eléazar) and Mariangela Sicilia, a moved Rachel, shone.” Read the full article via the link below.

| INTERVIEW |

Daniel Oren about La Bohème

How do we set up an opera like Bohème nowadays? “Working on young people and with young people: there are quite a few, fortunately, worthy of being brought into the limelight. Gone – it’s true – are the great craftsmen of the voice, outliers with unrepeatable charisma; but we have technically prepared and very gifted singers.” Read the full interview for Sistema Musica via the link below (language: Italian)

| INTERVIEW |

Daniel Oren about his relationship with Latin religious music

“Music is a contact with God. I also said this when I conducted Verdi’s Requiem at Santa Cecilia in November: it wasn’t a concert, it was prayer. I prayed during rehearsals much better than in the synagogue. It had nothing to do with whether it was in Latin or Hebrew. I felt elevated through the Requiem to very high levels thanks to these wonderful texts. I am thinking of Dvorák’s Stabat Mater, Puccini’s Mass that I took to St. Petersburg, or Rossini’s Mass that I had the Israel Philharmonic Orchestra play first a decade ago. Some very dogmatic Jewish orchestrators disagreed, but after the concerts they told me: ‘Maestro, you were right’. Art goes beyond that.” Read the full interview for Avvenire via the link below (language: Italian)

| INTERVIEW |

Daniel Oren about his career in conversation with Alain Elkann

WITHOUT EMOTIONS THERE IS NO MUSIC. The internationally acclaimed conductor Daniel Oren was born in Jaffa, Israel in 1955. He came to prominence in 1975 when he won first prize in the Herbert von Karajan International Competition for Conductors in Berlin. Since then he has conducted all over the world. Read the full interview on Alain Elkann Interviews via the link below (Language: English)