Peter Eötvös

Die Wiener Philharmoniker zu Gast bei Wien Modern: eine rare, aber höchst erfreuliche Konstellation, die nicht bloß Niveau und Image des Orchesters, sondern auch seinem Publikum und den gespielten Werken nur nützen kann. Für die mikrotonal schillernde Musik von Georg Friedrich Haas, nämlich sein Cellokonzert, setzten sich die Philharmoniker schon 2007 bei Wien Modern ein. Stand damals Jonathan Nott am Pult, haben sie sich diesmal Peter Eötvös anvertraut. Wie erwartet, erwies sich der ungarische Komponist und Dirigent als kompetenter Wegweiser durch für Ungeübte schwer passierbares musikalisches Gelände. (Die Presse, November 2011)

"Like any opera, Eötvös's Angels has to stand on its own feet, dramatically and musically, and to judge by the UK premiere at the Barbican, it manages that convincingly... this is high-class music theatre." (The Guardian, March 2010)

“With the composer himself on the podium, a chamber ensemble in the pit, a full symphony orchestra behind a dark gauze at the back of the stage, and a superbly matched cast of first-rate soloists, the odds were stacked towards success. And indeed, the 110-minute work was flawlessly performed and warmly received by a full house… Eötvös has written an immediate and engaging work, the vocal lines eminently singable, the orchestration full of small jokes, descriptive effects and beautiful soundscapes.” (Financial Times, February 2010)

Composer, conductor, teacher – “His is a music which must be experienced live. Even more important, one must pay attention to every note, every movement, every gesture. This music, while stunningly beautiful at times, is neither reverie nor comfort. It is a music memory and sorcery and produces ever-increasing awe.” (Concertonet.com, January 2009)

“Eötvös's confident score… is full of authentically magical things. His orchestral imagination is keen and he has simplified his musical language without ever making it simplistic. There are ravishing sounds here, combined with equally convincing vocal writing often spun over diaphanous textures…” (The Guardian, August 2008)