alpesh chauhan

Alpesh Chauhan releases a luxurious sound. In glossy widescreen format - which of course, Düsseldorf’s Principal Guest Conductor loves: for three years, the acclaimed young British Maestro has been growing a fanbase around himself..[…]..With the sonic roller-coaster shifts, Alpesh Chauhan unquestioningly trusts the [Düsseldorfer Symphoniker musicians‘] feel for sound trained by [their regular work at the Deutsche Oper am Rhein]. They ignite a true intoxicating sound in some places…then violent storms set in and discharge in dazzle and thunder - similarly as loud as the shouts of “Bravo!” that follow [the Korngold - Symphony] for the musicians and conductor.

With the 90-strong City of Birmingham Symphony Orchestra under Alpesh Chauhan and an engaged and utterly fearless community chorus of 100 it’s a remarkable and inspiring feat. This is magnificent but fiendishly complex music, here as tightly coordinated as could be expected of a bustling promenade performance [of Tippett’s New Year by Birmingham Opera Company] under vaulted canvas..[…]..[Keith Warner] clarifies the metaphysical arguments as Chauhan does the score…this is exemplary music-making.

Conductor Alpesh Chauhan draws marvellous effects from Michael Tippett's [New Year with Birmingham Opera Company] on what is real and fake, vibrantly played by CBSO at the Dream Tent in Birmingham

I’m sure [Michael Tippett] would have loved Keith Warner’s immersive production [of New Year with Birmingham Opera Company] and Alpesh Chauhan’s assured conducting underpins a well-deserved showcase for his brilliant music.

...conductor Alpesh Chauhan proved...[to be]...an expressive interpreter with a lot of tact for tempi and dramaturgical subtleties. These qualities came to the fore in the Schumann Symphony [with the Düsseldorfer Symphoniker]: especially as [Schumann's 2nd Symphony] doesn't simply play itself, but requires constant work to construct - not to mention the technical difficulties faced..[...]..The stretto at the end of the Scherzo was a thrilling success, the fast-paced string passages in the Finale were met with bravura and in the yearning Adagio, the conductor and orchestra found the tastefully exquisite balance between expressiveness and lucidity...

Chauhan knew how to take charge [in his selections from Tchaikovsky's 'Swan Lake'] with very explicit direction to orchestral sections, especially the violins. He took them out of automatic pilot and powerfully shaped their playing, intently focusing on dynamics, bringing a new life to a familiar work..[...]..He showed sophistication with this repertoire.

A charismatic, balletic conductor, Chauhan jabbed and scooped at the air in front of him; passages [of Bruckner’s 9th Symphony with the BBC Scottish Symphony Orchestra] that could have been yet more repetition were held in absolute tension with a poised little finger. Most remarkable, however, was the journey from laid-back sonic beauty in the first movement via an extravagantly off-kilter push and pull in the scherzo to a phenomenally intense third movement, by turns majestic and breathtakingly gentle.

Chauhan's passionate approach [in Tchaikovsky's 'Capriccio Italien'] is consistently vibrant, sensitive and fastidiously attentive to orchestral details. The BBC Scottish Symphony Orchestra responds with some really affecting performances full of sparkling virtuosity and dramatic impetus that convey Tchaikovsky's rare gift of melody with utter conviction.

...Certainly, Alpesh Chauhan and the BBC Scottish Symphony Orchestra present a no-holds-barred interpretation that serves to maximise ['Fatum's'] impact..[...]..Once again [in 'Capriccio Italien'], Chauhan resists any temptation to underplay the music's moments of vulgarity, and this performance is both exciting and atmospheric..[...]..Here [-in 'Hamlet'], Chauhan is particularly effective in projecting the torment and anguish in Tchaikovsky's string writing...

Musical romanticism comes in many shades, as this stirring concert from the Bournemouth Symphony Orchestra reminded us...All this needed a conductor able to persuade an orchestra to conjure all these different shades, and fortunately the BSO had one in the shape of young Briton Alpesh Chauhan. He launched Elgar’s [In the South] with exactly the breathless excitement it needs, and his intelligent way of pacing the music made one super-aware of a wonderful paradoxical quality about the piece.

Foremost in this performance [of Strauss' Symphonic Fantasy from Die Frau ohne Schatten] was its thrusting inevitability, wave upon wave of tidal surge punctuated by moments of idyllic calm (the early slow, smoking crescendo by the strings) or the thwack of menacing chords. Chauhan gauged the mood swings well, from Debussy-like mirages to irreverent playfulness. It was wild and heated, tempered by a cool head..[...]..But it was in the heart-stopping “Farewell”, meltingly sung by [Karen Cargill], that the full impact hit home.  Beyond the filigree instrumental delicacies of the earlier songs, and Mahler’s confection of impressions, from chattering chinoiserie and bird-like menageries to swarthy folk scenes, it was in this final timeless transcendence that magic happened. At its impassioned peak Cargill’s low register was a scorching presence. In the final fade out, pierced by a chiming celeste, we were left only with a chilling, seemingly eternal, silence.

Chauhan proves in this disc that he loves Tchaikovsky and is not afraid to show it…Chauhan makes [the lesser-known works] sound as if they deserve to be on the A‑list, demonstrating that he has a sure sense of how the music flows at the broadest level and that he is capable of communicating his vision to the orchestra..[…]..The performance [of ‘Voyevoda’] is ablaze from the outset and holds the listener in its grip throughout, intense but never harsh or garish…The explosive climax is a credit to the conductor, orchestra and sound engineers alike (at around 11’38”)..[…]..The ultimate test of Chauhan’s artistry here is Francesca da Rimini, and he certainly does not disappoint. The introduction is often played so ponderously that the listener becomes impatient, but here it drives forwards with urgency. When the howling winds of hell arrive, they hit us with an overwhelming force that Dante himself would have admired..[…]..I relished the luxuriant sound and was thrilled by Chauhan’s ability to communicate so naturally and powerfully.

...it is indisputable that the conductor and orchestra are ideal interpreters of this mercurial music, alive to every nuance and inflection. These are wild, free accounts in the best way: not ill-disciplined but constantly thrilling and released, happily indulging in rubato and rallentando; the playing is really superb. Comparison with accounts of The Tempest on my shelves by Svetlanov and Lazarev, good as they are, reveals the superiority of this new one in terms of recorded sound, instrumental balance and interpretative nuance and variety. The opening of Chauhan’s recording, for example, conveys so much more mystery and grandeur than they manage to do, and many more details emerge as his reading proceeds..[...]..This is my first encounter with this conductor’s work and on this basis I shall be looking out for another opportunity to hear him, either live or recorded.

A Qobuzzisime is awarded to the young British conductor who charms us with a selection of Tchaikovsky's fantasies, which he makes resonate in a fascinating way. A future legend..[...]..From the captivating Overture and Polonaise from the opera Cherevichki, to the evocative fantasy The Tempest and the enchanting Francesca da Rimini suite, Chauhan showcases his visionary approach and deep understanding of orchestral dynamics. His interpretations flawlessly capture the essence of each piece, seamlessly guiding the orchestra through sudden changes in mood and atmosphere..[...]..Listening to this recording feels like embarking on a profound journey, leaving the listener in awe of Chauhan’s skill as a conductor. Chauhan’s album offers a fresh perspective on Tchaikovsky’s music, resonating with drama and immensity rarely heard before. It serves as a testament to the cosmic talent and potential of Alpesh Chauhan, leaving no doubt that he is a conductor to watch closely in the years to come. With his captivating performances and unwavering passion, Chauhan is destined to continue creating musical dreams and pushing boundaries in the world of classical music.

Shostakovich's monumental [Symphony No. 7]...is brilliantly scored and magnificently composed orchestral fodder, a massive battle plan, which conductor Alpesh Chauhan, surrounded by the augmented Düsseldorfer Symphoniker, doesn't hesitate to explore and mould down to the finest intricacies. At the climax of the famous 'Bolero' passage he even jumps up half a metre. A real tour-de-force..[...]..Earlier in Britten's Cello Symphony [with soloist Alban Gerhardt], the Principal Guest Conductor demonstrated not only his sense of the work as a whole but also an unwavering love for detail. The way he managed the fragile, unwieldy nature of the first movement, brought the race of the second movement safely to the finish line, and in the Adagio spanned a wide arc up until the cadenza leading to the final Andante: this is great art.

Clearly Chauhan knows his Shostakovich, and this knowledge and understanding came out clearly in a measured and thoughtful performance [with the City of Birmingham Symphony Orchestra]. Chauhan’s reading captured both the shapes of the individual movements and the overarching form of the symphony as a whole..[...]..as for Maestro Chauhan: a most exceptional and visionary conductor with an electrifying presence; more please!

It’s safe to say that Alpesh Chauhan, making his [Seattle Symphony Orchestra] debut at the podium, was a new discovery for most of those present. He led a program of Brahms and Lutosławski that remained gripping throughout and, at times, revelatory..[…]..To judge by the musicians’ responsiveness and rapt involvement throughout the evening, Chauhan was able to establish a rapport with the SSO that made it sound as if they had been performing together for some time…the collaboration with Hilary Hahn was a genuine partnership, conductor and soloist sharing a tendency to emphasize the sweeping grandeur and spaciousness of the first movement in particular..[…]..Chauhan reveled in [Lutoslawski’s Concerto for Orchestra’s] score’s contrasts between feather-light, misterioso whisperings and aggressive tutti driven by the brass. The rapturous applause that erupted prompted the conductor to single out every section of the orchestra for praise before taking his own bow.

[Chauhan] gave a fabulously assured reading of [Rachmaninoff's 2nd Symphony] and chose an entirely different approach in doing so, maybe even risky..[...]..Chauhan's performance...was rich, dark and warm in the way that colours emerged from inside it.

[Alpesh] has steadily garnered rave reviews. Judging by these riveting performances he is set to become a household name..[...]..And so from the finale’s ‘lightning strike’ [with the Philarmonia Orchestra], momentum gathered with an unstoppable rhythmic impetus, Fate vanquished in the movement’s final furlong, overwhelmed by Chauhan’s galvanising spirit and culminating in unequivocal triumph.

…the wonderful thing about this evening is how conductor Chauhan, who had already raved about Korngold’s unique, groundbreaking musical language in the pre-concert talk, brought the highly complex, technically and rhythmically demanding [Korngold - Symphony] to life…brilliantly performed by [the musicians of the Düsseldorfer Symphoniker] who are well-prepared and play with great enthusiasm.

A major operatic rediscovery..[…]..a feat of sustained virtuosity and dramatic focus from the City of Birmingham Symphony Orchestra under Alpesh Chauhan [in Birmingham Opera Company’s production of Tippett’s New Year]

Michael Tippett would have absolutely loved this..[…]..The score [Tippett's New Year with Birmingham Opera Company] is coolly controlled by the excellent CBSO conductor Alpesh Chauhan.

Conducting the City of Birmingham Symphony Orchestra [in Tippett's New Year with Birmingham Opera Company] with typical discipline and energy, Alpesh Chauhan brought requisite vibrancy and clarity to Tippett’s writing.

What a night to remember: the world premiere of a heartrending new song cycle 'The Last Thing' by Australian composer James Ledger, and a volcanic account of Beethoven’s [9th Symphony] under the baton of charismatic British conductor Alpesh Chauhan..[...]..The sense of anticipation evoked by the opening bars of the Allegro ma non troppo, un poco maestoso and the ensuing thunder; the striking Scherzo with its terrifying interjections; the lyrical beauty of the Adagio molto e cantabile – Andante moderato and the sublime power of the final movement: this was all here, and more. I have never heard such an electrifying climax to this symphony before..[...]..Judging from the audience’s leaping to their feet and clapping and shouting “Bravo!” as the final notes were still lingering in the hall, they would probably agree with me.

Alpesh Chauhan conducted the opening of [Bruckner’s 9th Symphony] with a sense of shuddering darkness, but by the time they reached the slow movement, via a hammer-blow Scherzo, the musicians of the BBC Scottish Symphony Orchestra had created a vision of magisterial transcendence.

I was especially looking forward to hearing Alpesh Chauhan conduct, having so much enjoyed his debut recording on the Chandos label of Tchaikovsky orchestral works with this orchestra – and his performance [of Bruckner's 9th Symphony with the BBC Scottish Symphony Orchestra] was a revelation. Dancing off the podium, sweeping the air with beseeching gestures, requesting a pianissimo or an entry with a crook of his little finger..[...]..the results were so exhilarating. His orchestra played like demons and I have never heard such phenomenal power and attack from an ensemble; by the end of the first movement I was already stunned and slack-jawed by the sheer noise and drama generated – and I could see that I was not alone in my reaction. The strings were playing on the edge of possibility, sometimes fraying horsehair, such was the ferocity of their upstrokes which lent their phrasing extra, savage bite, yet tremolos crept in almost imperceptibly and pizzicatos were impeccably co-ordinated; this was an account which was both brutally tough and meltingly Romantic in equal measure. Timpani were gratifyingly prominent and precise, the woodwind was exceptional, headed by crystalline flutes, the first violins, so often exposed, played with supreme confidence. The energy and commitment of this playing were of the kind you would hope to hear from one of the world’s top orchestras but the Adagio gave us even more: its intensity and incandescence were transcendent. The long silence which ensued after the last note spiralled into infinity was testament to the effect of the kind of performance the concertgoer always hopes to hear but rarely experiences.

Every section and soloist of the BBC Scottish Symphony Orchestra plays to the utmost, Alpesh Chauhan's conducting is perfectionist and the Chandos production values are as high as ever. This winning combination allows us to enjoy even the music that falls short of Tchaikovsky's own exacting standards..[...]..This performance of the Capriccio italien is mesmerising from the start, with soft brass chords and perfectly synchronised strings providing a wealth of colour, and it builds up to a peak of great intensity.

An evening of exceptional performances from Chauhan, Kolesnikov and the [Bournemouth Symphony Orchestra]..[...]..and from [Elgar's In the South's] imperious opening bars, bravura and grandeur were vividly presented here with a fierce intensity, incisive brass and plush string tone adding to Chauhan’s richly conceived and detailed performance...Altogether, an involving and superbly compelling account with belligerent and elegiac elements perfectly reconciled..[...]..This account [of Brahms' 2nd Symphony] underlined the work’s sweeping lyricism, yet was not without muscular unrest, as if Liszt and even Elgar were looking over Chauhan’s shoulder. The opening movement was a clear-sighted conception, climaxes nicely integrated within a satisfying emotional trajectory. Cellos caught the ear in the noble Adagio, the movement’s fresh-air quality neatly etched, while the third movement was imbued with elfin gaiety and Viennese charm. From here it was headlong into a spirited Finale that was both light on its feet and authoritative. And with an intuitive grip on its cumulative momentum, Chauhan propelled the movement towards a grandstand finish, those pealing trombones ringing out magnificently.

Alpesh is always welcome to the City Halls, where his evident rapport with the BBCSSO and his insightful interpretations of Late Romantic and 20th-Century repertoire have, in just the last year, given us memorable performances of Rimsky-Korsakov’s Scheherazade and Shostakovich’s Symphony No.5..[...]..A first hearing for me [of Strauss' Symphonic Fantasy from Die Frau ohne Schatten], and I cannot imagine a finer realisation of it.  Alpesh yet again showed his talent as a painter of sonic pictures, the orchestra his skilful and ever-willing accomplices.

[Hilary Hahn] was not just a performer here [in Sibelius's Violin Concerto]; she belongs to that upper echelon populated by those who give listeners something amazing and unforgettable. Under Chauhan’s impeccable direction; the orchestral playing was rhythmically taught and richly detailed..[...]..The “Neapolitan Dance” [of Tchaikovsky's Swan Lake] received particularly affectionate treatment in the hands of Chauhan, who showed more of his own podium personality here, bringing out the strings with tempo and panache. After the first half of the program — and its thoughtful and professional restraint — it was a relief to hear the orchestra finally let loose

Spellbinding Tchaikovsky packs an emotional punch. Alpesh Chauhan evidently has a tremendous flair for Tchaikovsky. Supported by stunningly responsive playing from the BBC Scottish Symphony Orchestra, his interpretations brilliantly project the music’s theatrical excitement as well as its subtle and sophisticated orchestration..[…]..Chauhan vividly encompasses a wide gamut of emotions within a relatively short time..[…]..Chauhan puts the orchestra through its paces in the more frantic passages [of ‘Francesca da Rimini’] and the climax to the middle section, depicting the blossoming but ultimately doomed love affair between Paolo and Francesca, is wonderfully eloquent.

Had Tchaikovsky heard [his 'Voyevoda'] in a performance as persuasive as Chauhan’s, I feel he might have ceased to browbeat himself for ‘dirtying paper’: certainly it’s a piece which needs a firm hand on the tiller and an acute ear for balance, but that’s exactly what we get here from the outset..[...]..Chauhan paces it to perfection, ensuring that you feel every bump in the road and every surge of adrenaline along the way..[...]..Chauhan lets every single player off the leash to electrifying effect whilst making sure that even the tiniest detail registers loud and clear..[...]..here again Chauhan’s ability to conduct up a storm will take your breath away..[...]..In short, Chauhan’s Tchaikovsky is indeed the stuff dreams are made on, and the next instalment can’t come soon enough.

Alpesh Chauhan is an imaginative conductor with a keen eye. He can find details in scores which other interpreters miss. He weaves them into melodies that become a story under his hand..[...]..[In Haydn's Symphony No. 44 with the Poznań Philharmonic], Chauhan presented himself not as a parlour musician or musical prankster, but as a full-blooded, emotional narrator..[...]..Under the baton of the British [conductor], the ensemble gained splendour and character..[...]..The Philharmonic soared to the heights and listening to it was a real pleasure. Especially under the baton of a conductor who treats music as a storytelling tool.

This was a strong debut...Chauhan should take credit for the way in which he shaped and paced [Shostakovich's 10th Symphony with the Hallé], generating terrifying tension in the opening Moderato (no longer interminable) and unleashing new life and hope in the finale. In between the Stalin-portrait Allegro thrilled and chilled in equal measure, while the distorted dances and Boléro-like mechanical energy of the Allegretto unexpectedly nodded to Ravel.

A performance that provided ample indication of Chauhan’s emergence as a conductor of the front rank. Hopefully he will be returning to the CBSO soon.

[Chauhan] is new to the [Adelaide Symphony Orchestra], and this brave Briton is one of the most exciting conductors we’ve seen in Adelaide in a long while..[…]..he made the ASO sound twice the orchestra..[...]..Well, what a fabulous performance we had here. The drama was almost unbearable. The ASO was totally in harness under Chauhan, every note and phrase laden with meaning..[…]..Chauhan has unique abilities that bring all this out abundantly: he connects with the players in a thoroughly physical manner, carving out phrases in the air like a sculptor and at times whipping up action like a horse trainer, stockman, or even a boxer. One was left in no doubt about the impact of this symphony. It was a staggering performance..[...]..Chauhan is a phenomenal talent...

...Chauhan could have played safe with the symphony, settling for a risk-free approach. Instead, he decided to go for it, and led an interpretation that encouraged the [London Philharmonic Orchestra] to dare all in pursuit of symphonic glory.