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| 2000
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...a splendid performance…with broad phrasing
that immediately goes to the heart...in the work of Sculthorpe
Marco Zuccarini knew how to draw out the magnificent sensation
of primordial nature...(in Prokofieff’s “Classical”
Symphony and Tchaikovsky’s “Romeo and Juliet”)
the well-thought-out direction of Marco Zuccarini placed
the right emphasis on both the moments of expressive effusion
and those of intimacy, assigning distinct prominence to
the single instrumental groups (particularly the winds)...a
wonderful evening, broken only by extensive applause...
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Sergio Sciacca
La Sicilia, 18th February 2000 |
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....both the soloists’ near-seamless interweaving
and the crispness of Zuccarini’s support gave this
work a striking freshness, an unexpected interest revitalising
what has become a commonplace of the repertoire...Zuccarini
again showing his expertise by drawing out some interesting
bursts of activity in the orchestral accompaniment, details
that most other conductors gloss over.
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Clive O’ Connell
The Age, Melbourne 17th October 2000 |
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Marco Zuccarini lifted the Melbourne Symphony Orchestra
to thrilling heights in Sale’s Memorial Hall...the
orchestra gave a performance in Sale that began with a
measured but refreshing interpretation of Ravel’s
Le Tombeau de Couperin, moved with assurance through Mozart’s
Clarinet Concerto in A, enveloped the senses with Dvorak’s
Symphony N° 8 and ended with an overwhelming encore
performance of Brahms’ Hungarian DanceN°5...Dvorak’s
Symphny N°8 was presented in a flamboyant, almost
rollcoaster-ride fashion. Zuccarini used the full strings
complement with deftness and allowed the flute solos to
carry their birdlike impressions to brilliantly counterpoint
the assurance of the cellos and violas...The Brahms encore
was played “fortissimo” and left this listener
almost breathless trying to keep pace with Zuccarini’s
vigorous interpretation...
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Peter Hill
Gippsland Times, 17th November 2000 |
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