Elegie für junge Liebende Hans Werner Henze
Aalto-Theater Essen 23.4.2010

Mit Noam Zur wurde ein Dirigent gewonnen, der das Optimale aus der Partitur herausholt. Souverän lässt er jedes Instrument zu seinem Recht kommen, ist in dramatischen wie in lyrischen Phasen gleich stark. Auch die Sänger überzeugen ausnahmslos.

von Torsten Enge
http://www.wz-newsline.de/?redid=816697

In Noam Zur we have come by a conductor who manages to extract the finest out of the score. He exposes each instrument autonomously, and is equally strong in lyric and dramatic passages. The singers, too, persuade without exceptions.

Torsten Enge

Das überzeugt so, wie das gesamte Ensemble und Noam Zur am Pult der Essener Philharmoniker. Sie machen die ironisch gebrochene, vitale Delikatesse der Musik Henzes zum Erlebnis.

Von Joachim Lange
http://www.wienerzeitung.at/DesktopDefault.aspx?TabID=3895&Alias=wzo&cob=489174

This (the staging) is as convincing as the entire singer ensemble Noam Zur at the helm of Essen Philharmonic. They turn the ironically erratic, vitally delicate composition into a unique experience.

Joachim Lange
http://www.wienerzeitung.at/DesktopDefault.aspx?TabID=3895&Alias=wzo&cob=489174

Kultur, 25.04.2010, Von Martin Schrahn – Der Westen
http://www.derwesten.de/kultur/Elegie-fuer-junge-Liebende-voller-Wahn-und-Narretei-id2899784.html

Motoric Music

The Essen Philharmonic under Noam Zur illuminates Henze’s cristal-clear, sometimes powerful, sometimes tender, dance-like, motoric music wonderfully. Each one of the singers goes to the extremes of characterizations. A mesmerizing evening about art, morals, allegation and decay.

Cultur, 25.04.2010,Martin Schrahn – Der Westen
http://www.derwesten.de/kultur/Elegie-fuer-junge-Liebende-voller-Wahn-und-Narretei-id2899784.html

Die surreal verrätselten, doch vielfältig zu deutenden Bilder der Regie passen kongenial zu Henzes paradiesvogelhaft schillernder Musik, die von den Essener Philharmonikern unter Noam Zur ungemein farbig und präzise interpretiert wird. Auch das durchweg stimmig besetzte Ensemble begreift musikalische und szenische Darstellung als höhere Einheit - ideale Voraussetzungen für einen großen Musiktheaterabend.

FAZ 29.04.2010 -  Christian Wildhagen

The enigmatic surreal multifaceted images of the stage direction fit perfectly to Henze’s vibrant dazzling music, which the Essen Philharmonic under Noam Zur interpret exceptionally colorful and precisely. The unswerving Ensemble interprets singing and acting as one unit – ideal conditions for an exalted opera outing.

FAZ 29.04.2010 -  Christian Wildhagen

Carmen Aalto-Theater Essen am 30. December 2009

:" [...] Kapellmeister Noam Zur beginnt mit einer vordergründig knalligen Overtüre, findet dann aber bei den leisen Stellen einen berückend schönen Mischklang. Insgesamt wird daraus eine sehr solide geleitete Aufführung auf gutem Niveau [...]"

... Noam Zur, leading the Essener Philharmoniker, builds the tempi wisely. The conductor avoids the trivialities of young Verdi traditions, but without letting go of the reins. Just look at the Recitativo, Aria, and Cabaletta (Abigaille) at the beginning of the second Act: Zur gradually and indiscernibly turns the Tempo-screw ever tighter and faster. He conducts a fluid, breathing “Nabucco”.


WAZ 15.04.2009 - Dirk Aschendorf

Der lange Marsch in die Gefangenschaft


The long Walk into Slavery
Musically, Noam Zur shaped the evening together with the Essener Philharmoniker to the by now expected high quality, presence, and attentiveness to the stage. An enthusiastic audience gave feverish applause to everybody, almost frenetically to Marco Chingari and Francesca Patanè. And of course the public celebrated “their” orchestra and choir. And all this during a repertoire performance!

Theater pur / June 2009

Der Chor, dem wie in den meisten russischen Opern als Stimme des Volkes eine zentrale Rolle zukommt, wird für seine Leistung zu Recht bejubelt - ebenso wie die Essener Philharmoniker unter Noam Zur für ihre geschlossene Interpretation der farbenprächtigen Partitur. Tempo, Aktion und Farbenreichtum bestimmen die Szene.

 Die Polowetzer Tänze als Finale zu verwenden, ist ein kluger Einfall, [...] [so] haben Andrejs Žagars und Noam Zur mit ihrer Fassung einen dramaturgisch wie musikalisch schlüssigen Fürst Igor vorgelegt. Kurzer, aber begeisterter Beifall für einen lohnenswerten Opernabend!

Dr. Eva Maria Ernst
http://www.operapoint.com/blog/?p=512
3.2.2009

The choir of the Aalto Theater plays the vox popoli as it does in most Russian operas. They were deservedly celebrated – just like the Essener Philharmonic Orchestra under Noam Zur – for the consistent interpretation of the colourful score. Tempo, Action, and a richness of
colours are the keywords!

Placing the Polovetz Dances as a Finale is an elegant idea, […] the director Andrejs Zagars and the conductor Noam Zur have thus presented a musically and dramaturgically coherent “Prince Igor”.
Heartfelt applause for a worthwhile evening at the opera

Dr. Eva Maria Ernst
http://www.operapoint.com/blog/?p=512
3.2.2009

Ich finde, dass Noam Zur das Essener Orchester sehr transparent geführt hat. Er hat uns oft auf Nebenwege geführt, indem er Nebenstimmen herausgehoben hat, er hat uns an manche unverhoffte Lichtung gebracht und manches Dunkel bewusst auch dunkel tönend belassen. Das war sehr abwechslungsreich und ich denke, dass es nicht unklug war, eine komprimierte Fassung herzustellen auf die Bühne zu bringen, so dass musikalisch der Reiz größer war als die Kohärenz der szenischen Darstellung.

WDR3 Mosaik 06.02.2009
Christoph Vratz

I find that Noam Zur directed the Essen orchestra very transparently. He often took us “off-road”, by emphasizing the counterpoint, leading us to unexpected pastures, but at the same time clearly darkening some of the gloomier shadows.

This was quite varied, and I think that it wasn’t unwise to present a compressed version, so that the musical ingredient was more attractive than the coherency of the scenic representation “


Christoph Vratz
WDR3 Mosaik 06.02.2009

Gesungen wird, über der lobenswert diskreten Begleitung der Essener Philharmoniker, recht erfreulich, teils gar staunenswert.

FAZ, Jan Brachmann, Feb 10 2009

Accompanied by the admirably discreet Essen Philharmonic Orchestra, the singing was delightful, in parts even extraordinary.


FAZ, Jan Brachmann, Feb 10 2009

Die Glut der Philharmoniker facht Noam Zur in den vom riesigen Chor glänzend gemeisterten Massenszenen mit viel Brio an. [...]

Noam Zur sets light to the flame of the Essen Philharmonic in the brilliant mass-scenes with the shining choir  […]

Es sind schließlich wieder einmal die Chöre des Aalto-Theaters, die Grandioses leisten. Noam Zur am Pult der Essener Philharmoniker bietet all den Bühnenaktionen ein solides, verlässliches Fundament

Christoph Schulte im Walde
www.opernnetz.de / 2.2.2009

Once again, the choirs of the Aalto-Theatre deliver magnificently. Noam Zur, leading the Essen Philharmonic, provides the stage with a solid and reliable foundation.

Christoph Schulte im Walde
www.opernnetz.de / 2.2.2009

Der junge israelische Dirigent Noam Zur ist Essens neuer erster Kapellmeister. [...] er dirigiert mit dramatischem Gespür und lässt die Übergänge organisch klingen.

Stefan Keim
Westfalenpost, 2.2.2009

The young Israeli conductor Noam Zur is Essen’s new principal resident conductor, […] he conducts with dramatic feeling and makes all the transitions sound natural.

Stefan Keim
Westfalenpost, 2.2.2009

Dirigent Noam Zur gelingt eine insgesamt gute Vorstellung als neuer Erster Kapellmeister.

Klaus Stübler
Ruhr Nachrichten, 2.2.2009

Noam Zur gives a good performance as the new principal resident conductor.


Klaus Stübler
Ruhr Nachrichten, 2.2.2009

Borodins Hauptdarsteller ist das Volk, und so sorgen Opern- und Extrachor des Aalto-Theaters für viel Kolorit. Von zarten Frauenchören bis zur Wucht der berühmten „Polowetzer Tänze“ gibt es eine überzeugende Bandbreite (Einsudierung: Alexander Eberle, Inna Batyuk). Kapellmeister Noam Zur hält die Tendenz zum Eilen in Schach. Unter seiner energischen Stabführung zeigen die Essener Philharmoniker verlässliche Qualitäten[...]

Anke Demirsoy
Westfälische Rundschau, 2.2.2009

Borodin’s main actor is the people, and the Aalto opera- and extra-choirs give plenty of colours. The entire range between delicate female chorus and the force of the famous “Polovetz Dances” is shown (Alexander Eberle, Inna Batyuk).
The principal resident conductor Noam Zur suspends the tendency to rush.
Under his energetic leadership, the Essener Philharmoniker demonstrate reliable qualities […]

Anke Demirsoy
Westfälische Rundschau, 2.2.2009

Orchester startet hörbar erholt in die neue Saison
Philharmoniker spielen für behinderte Mitbürger
Markus Bruderreck, WAZ (Essen) 23.08.2008
[...]
Zur, neuer erster Kapellmeister am Aalto-Theater, stellte sich nun als Konzertdirigent vor. Ein bedächtiger Künstler, der die Musik zelebriert, ihr Zeit hibt, der genau weiß, was er will. Große klangliche Schönheit entlockt er den offenbar gut erholten Philharmonikern.
[...] Zur nimmt fast alles mit mäßigen Tempi, [...] die Slawischen Tänze aus Dvoráks Opus 46 verändern so ihren Charakter.
[...]
Aber Langsamkeit hat auch sein Gutes. In Respighis „Pini di Roma“ entstehen magische Momente. In den „Pinien vor den Janiculum“ bezaubert eine zwitschernde Nachtigall das gebannt lauschende Publikum. Und der abschließende Marsch, von Zur dynamisch klug angelegt, wirkt gezügelt
umso bombastischer

Orchestra returns well rested to a new season
Philharmoniker play for handicapped citizens
Markus Bruderreck, WAZ (Essen) 23.08.2008
[…]
Zur, the new principal resident conductor at the Aalto-Theater, presents himself as a concert conductor. He is a serene artist, who celebrates the music and gives it time, who knows exactly what he wants.  He elicits great aural beauty from the obviously well rested Philharmoniker.


[…] Zur takes almost the entire programme with moderate tempi, […]
which changes the character of the Slavonic Dances from Dvoráks Opus 46. […] But leisure also has positive aspects. Magic moments materialized in Respighi’s “Pini di Roma”. The attentive audience was bewitched by the nightingale in the “I pini del Gianicolo”. The concluding march, dynamically smartly laid out by Zur, has a much more bombastic effect when constrained.

This was Israeli conductor Noam Zur’s best ever concert with the Johannesburg Philharmonic. It established a new level of excellence from which the relationship can progressively grow. After not being happy with the performance of Schubert’s Symphony no. 9 in C major – “The Great” the week before, this really came as a total surprise.
[…]
One was relieved that Zur did not bring the intensity and volatility of some of his colleagues to this work. […] he gave us a profoundly musical performance, disclosing the beauty and effectiveness of the scoring, the architectural splendor and the genuine symphonic thinking that governs it.
With clearly delineated counterpoint and effective tempo changes in the first movement (frank, but never disruptive), the devilish Scherzo, brightly lit and engagingly grotesque, also sounded quite relaxed. Zur nearly adhered to Mahler’s remark, “there are no fortissimos in my Symphony No. 4”, but he and every Mahler-connoisseur knows: it’s a literal lie, but a metaphorical truth.
The JPO ‘cellos at the start of the slow movement were masterly, eloquent and restful. It was almost as if the players used Zur’s breadth to suggest space and easy utterance. Ruth Ziesak’s soprano solo in the finale was direct, unsentimental and affecting, without an attempt to ladle out Viennese charm. Together with the conductor’s openhanded approach to tempo changes, it ensured a continuous flow of text-related incident.
Ms Ziesak opened the concert with Bach’s Cantata No. 51 - Jauchzet Gott in allen Landen (Praise God in all Lands). This moving performance came from the singer’s soul rather than pure tonal or technical brilliance. Every florid passage, be it fast or slow, was engagingly sung, while the obligato trumpet, played by Reinhold Friedrich, enhanced the festive atmosphere. Zur is an engaging conductor in Baroque music.
He and Friedrich’s efforts to bring a sense of vigour and adventure to well-worn trumpet concerto territory made it exciting to hear Haydn’s Concerto in E flat major as if newly minted. Great playing again by the soloist, with an always alert orchestral contribution.

Paul Boekkooi

"... The joy and fun which enraptured the "symphoniker" proved that the rehearsal
period, which probably wasn't easy, was ripe with fruit. Especially since an established
orchestra like the Brandenburger Symphoniker doesn't find it easy to trust a conductor
who is as young as he is self-assured, but also decorated with artistic merits. Both Zur
and the orchestra proved that this endeavour worked perfectly with Richard Wagner's
"Siegfried-Idyll".

Zur impressively guided the orchestra through the difficult but lively passages of Dvorak's
symphony. The applause [...] was loud, hearty, and honest ..."

"…“Music of the future”, as Berlioz’s creation was known at his time, was the crown of this concert.  Under the young Israeli conductor Noam Zur who has an obvious affection for conducting operas – which is only positive for the symphonic orchestra, and the vocal-symphonic ensemble, the Filarmonia Transilvania showed its true values in the “Symphonie Fantastique”. The conductor “read” the intricate mixture of colours, timbres, tempi, and tension with great intelligence, giving the music renewed tonal power, with unfathomed resources and nuances. The strong autobiographical side, Berlioz's own fantasies and psychological dimensions of the art which he scored ingeniously, were realized by a young, refined, and fastidious conductor, with precise and elegant gestures, which the orchestra followed accurately…"

Mrs. Michaela Bocu,
Ziar Faclia (full review in Romanian)

... Noam Zur’s conducting of Prokofiev’s Symphony no. 7 in C sharp minor, opus
131 was beautiful, with orchestral lines and the many solo’s projected with ease and
distinction. Also the balletic pulse of some of the movements suited this work in which
the composer looked back on a life full of emotional extremes. However, the sense of
purpose and cogency found here made the performance one of the better interpretations
of this colourful and at times majestic work ...

"... the wonderful conducting of Noam Zur and the extreme festivity turned this into one of the most splendid evenings we have had here..."
Haaretz March 11th 2007, Noam Ben-Zeev

click here for full review in Hebrew (PDF)

"...Das tönte verführerisch und lasziv, war betörend gespielt von den Philharmonikern, dann wieder von feurigem Stolz erfüllt. Die vielfältigen Rhythmen und Klänge, die reichhaltigen Intarsien der Schlagzeuger, alles fügte sich traumhaft sicher in diesem Spiel. Noam Zur konnte es laufen lassen, das Orchester musizierte wie geölt..."

(Rainer Kohl, Rhein-Neckar-Zeitung, 19.05.06)

Perfect Insight
"Dream"- concert in the Kuppeltheater. At the first Sunday morning concert of the State Opera Orchestra, a trio of symphonic miniatures was followed by a Schumann Symphony. On the podium was Noam Zur, the 24-year-old principal resident conductor of The Heidelberg Opera. The Israeli conductor, who worked with the Kassel Orchestra for the first time, is a great talent, something that was immediately noticeable.
His conducting technique is made up of precise and economic gestures with complete and perfect insight into the complicated musical scores. This could be seen and heard from the get-go of Hector Berlioz's "Roman Carnival" overture. Instead of running over the music, as many of his colleagues tend to do, Noam Zur exposed the structure of the music which resulted in an interesting, even "Mozartian" result.
For George Enesco's 1st Romanian Rhapsody, an enticing variety of Balkan sounds, even more insight was needed - and accomplished. Especially the woodwinds (as usual, impeccable), and the first violins (not always 100 % synchronized), gave their best. A musically "self-playing piece" was the Frenchman Paul Dukas' "Sorcerer's Apprentice".
A bigger interpretational structure was needed for Schumann's "Spring Symphony". In typical Schumann-like sound, the emotional range of the symphony changes constantly from hopes, to fears, to wishes. In the first movement, Noam Zur drove the orchestra forward, and they enjoyed following. The sweetness of sound and phrase was enjoyed to the very last in the Larghetto ..... "[...]
Johannes Mundry, Hessische/Niedersächsische Allgemeine Zeitung 14.11.2005

Voller Überblick
Wunschkonzertatmosphäre im Kuppeltheater. Beim Sonntagskonzert des Staatsorchester folgte einem Trio aus bekannten sinfonischen Kleinwerken eine Sinfonie Robert Schumanns. Am Pult stand Noam Zur, der 24-jährige Erste Kapellmeister am Theater der Stadt Heidelberg. Der Israeli, der erstmals mit den Kasselern musizierte, ist, das hatte man schnell erfasst, eine große Begabung.
Zweckmäßige, ja sparsame Gesten bei einem vollen Überblick über das zum Teil recht komplizierte musikalische Geschehen zeichneten seine Stabführung aus. Gleich zu Beginn schon bei der Ouvertüre "Römischer Karneval" von Hector Berlioz war dies zu sehen und zu hören. Statt zu überrumpeln, wie Kollegen dies bei der effektvollen Opernminiatur gern tun, hielt Noam Zur den Blick offen für die Struktur, was ein interessantes, man möchte sagen, "mozartianisches" Ergebnis brachte.
Bei George Enescus wirkungsvoller 1. Rumänischer Rhapsodie, diesem reißerischen Rundflug über balkanische Klangsphären, war noch etwas mehr an Übersicht gefordert - und wurde erzielt. Besonders die Holzbläser (wie meist vorzüglich) und die ersten Geigen (nicht immer hundertprozentig koordiniert) hatten hier tragende Beiträge zu leisten. Ein Selbstläufer dann die sinfonische Dichtung vom "Zauberlehrling" des Franzosen Paul Dukas.
Einen größeren interpretatorischen Entwurf verlangt die Frühlingssinfonie" Schumanns.
Im unverkennbaren Schumann’schen Ton gehalten, wechselt die Sinfonie zwischen Streben, Bangen und Hoffen. Im ersten Satz drängte Noam Zur das Orchester, das gut folgte, tatkräftig nach vorn, ließ es im Larghetto schwelgen und die Süße gebührend
auskosten.... [...]
Von Johannes Mundry, Hessische/Niedersächsische Allgemeine Zeitung 14.11.2005

"[…] the music is spookily pretty and brought enormous joy to the musicians under the leadership of Noam Zur […]"

Gerd Kowa, Rheinpfalz 7.11.2005

"...This time it was Noam Zur conducting, the Benjamin under the Kapellmeister [the youngest Deputy Music Director in Germany]. His work was absolutely outstanding. The numerous soundeffects were quite impressive and the "Musical"-parts of the Horror Opera were swinging. Maraile Lichdi (Berenice) is a vocal catch for which the Heidelbergers can be proud - so long as she is still with them. [...] the fact of the matter is that there is fresh air at the opera in Heidelberg, something that can be seen for example by the huge media coverage, and that is no moot point! ..."

Stephan Hoffmann, Die Welt, 28.11.2005

The changes to from the calm to the enflamed were extremely organic and convincing, for example the triumphal beginning of the "Gloria", the passionate "Miserere", or the very clear and rigid "Cum sancto Spiritu".With classical strictness and structures, with romantic flow of feelings, and full of Mozart's Spirit, this performance called on to God's greatness. A musical wonder was the color of the choir in the "Credo".
The beginning cries in the "Sanctus" were resounded like visions, brought on by Noam Zur in Fortissimo and echoing long into the pianissimo - the very gates of eternity seemed to open. The Bachchor began the "Agnus Dei" with lapidary strength, rich expression, and strictness for details, only to be able to soften immensely for the cries for mercy in the last chords.
The Philharmonic Orchestra of Heidelberg played with the same attention for details and a beautiful sound as well as an eye for great arches as the choir. […]

Rainer Köhl, Rhein Neckar Zeitung 17.10.2005

The courage to loose control

Haifa Symphony Orchestra, Conductor: Noam Zur
Soloist: Jeffrey Howard, Clarinet
Grieg, Krommer, Sibelius, Haifa Auditorium

"The end of the concert put Noam Zur to a challenge: Sibelius's First Symphony, a piece woven of short segments - almost fragments - of musical sentences, changing moods, emotional eruptions as opposed to static silence, and an ongoing 'lack' of stability in tempo and orchestration. Zur combined all these fragments heroically into a single entity: Though at times struggling for continuity, it was nonetheless filled with sense and interest.
…
…in Edward Grieg's homage to the olden style "Holberg Suite" of 1885, Zur showed great courage in his restraint, and his meticulous fixation on the sweetness of the melodies, and the pianissimo sound of the orchestra…"

Noam Ben Zeev, Haaretz 9.12.2003

Click on review for larger image

Undoubtedly, the 21 years-old Israeli Noam Zur was the most mature, artistically. His conducting of Ravel's orchestral suite "Le Tombeau de Couperin" united a highly developed consciousness of sound and colors, clarity, and a secure guidance within the labyrinth of a complex score. A highly interesting young maestro!

May 13th 2003 Hessische/Niedersächsische Allgemeine