Andrés Orozco-Estrada, a brilliant future as a director

It is easy to foresee a brilliant future as a conductor for Andrés Orozco-Estrada: great communication with the orchestra (which in the end never stopped applauding him!), Rhythmic click, harmonious phrasing and then a lightness of touch that makes every page rise. grace and brightness. Colombian by birth, but Viennese by training, he has recently been admired on a world tour with the Wiener Symphoniker; in Italy he directed to Rome for Santa Cecilia, but with us, at the Toscanini RAI auditorium, he had not yet introduced himself, making an immediate impression for his skills as a musician. The program is seductive, with the launch of the overture from “Euryanthe” by Weber, then stretched out in the serenity of Mozart’s Concerto K 216 for violin and orchestra: soloist of great class and cantabile subtleties Julian Rachlin, who spoke with the orchestra, held lightly by Orozco-Estrada to tune in a perfectly Mozartian game of sonorous jets and tenderness. Then Strauss’s “Don Giovanni”, another rocket start, which highlighted the analogy with the Weber page heard earlier; known as long as you want, this twenty-year-old Strauss turned out to be new under the baton of a conductor who enlightened him in his prodigious inventive organization, finding an orchestra in great shape, ready to follow him in the enamel of the details and in the enthralling charge of the together; finally, the symphonic suite from the “Knight of the rose”, a roundup of situations and themes from the opera: compared to the backbone of “Don Giovanni” here the writing becomes looser, but not the joy and fun of listening.