REVIEWS

“Five Stars. Three works which together symbolise the utmost in style galant were performed with pinpoint precision by the London Philharmonic Orchestra. Early Beethoven (Symphony No 1), mid-period Haydn (Piano Concerto in D), and late Mozart (Symphony No 41), with the wild card of a Rossini Overture, made a programme [chosen by Smith] of popular appeal and great charm. Beethoven was delivered with sparkling rhythms and graceful pointing: the featherlight touch in the Minuet is not an easy accomplishment. Rossini was fun and Mozart magnificent. But the palm goes to young Australian conductor Daniel Smith for his uncomplicated joy in making music, for his expansive, courtly gestures, his radiantly expressive energy – and for conducting without a score.”

~ Louise Schweitzer (The Argus)

“The audience adored so much vigour. With the ‘Divertimento’ from Le Baiser de la fee, originally a ballet which Stravinsky modelled on a colourful cubist portrait of his famous compatriot Pyotr Tchaikovsky, Smith painted with the clarity of a Mondrian and the enthusiasm of a Van Gogh. Especially during the vibrant and bustling finale, the nail was hit exactly right on the head.”

~ Maurice Wiche (Dagblad De Limburger)

“Exquisite, the concert presented by the Fondazione Arena; like a frame restored, with exemplary features, for the three greatest representatives of the classical period, Haydn, Mozart and Beethoven. It began with the youngest of the three greats, the good old Ludwig van, served by an unfettered Daniel Smith, generous performer but never over the top. In his debut at the famed ‘della Scala’, the Australian conductor exhibited that he was perfectly at home, especially in the repertoire of Beethoven. His performance choices are certainly philological, and yet enriched by a vein which is completely personal and charming, ensuring the great success of the evening and resulting in an incessant roar of applause. The gestures of the young conductor are really interesting: his extraordinary technique is exalted and he gives the orchestral dragon that “supervised parole” which keeps alive the attention of the public, without any of the often amateurish slips of conductors who approach such masterpieces without the necessary humility. At ease with the two exceptional Beethoven overtures, starting from ‘Prometheus’ and particulary in the complex ‘Consecration of the House’, in the hands of Smith, the result of Haydn’s ‘London’ Symphony is sparkling and truly “witty”, just as the title of the last movement enunciates. With Mozart’s Concerto for Oboe [Paolo Grazia], Smith’s experience as a flautist must have had considerable effect on his agogic choices, where he demonstrated fully the broad knowledge and awareness of the difficulties related to the oboe. The orchestra was stimulated and responded with renewed vigour, noticed and appreciated by the public, resulting in numerous calls to the stage for both stars of the evening.”

~ Raffaella Petrosino (GB Opera Magazine)

“Smith impresses in Arena di Verona debut with freedom of phrasing…

The direction of Australian, Daniel Smith – for the first time at the Arena di Verona – focused on two Beethoven overtures, The Creatures of Prometheus, which opened the concert and The Consecration of the House, which commenced the second half (this was such a sumptuous orchestral treat that Smith thanked all the orchestra sections publicly), Mozart’s Oboe Concerto [with Paolo Grazia], then concluding with the celebrated London Symphony by Haydn. Daniel Smith accentuated the humouristic character with an elegant coolness, radiance and geniality. His execution and integrity – impeccable, faultless, irreproachable – showing respect to all of the repeats, his performance distinguished from most other interpretations, yet of philological taste, a freedom of phrasing and variety of colours, scrupulously respecting the text of the score, yet completely avoiding any risk of mechanicalness. The concert thus concluded with flexible freshness for a witty, spirited Allegro, delivered with truly electrifying virtuosity – which was repaid lively and heartily with cheering acclamations from the audience.”

~ Gianni Villani (L’Arena)

“To savor the skills and artistry was most heartening. Smith’s sensitivity as an accompanist was complemented by the showcase performances he elicited from the orchestra in two well-known works: Dvorak’s Carnival Overture and Beethoven’s Symphony No. 6 in F major (“Pastoral”). The predominantly festive mood of the Dvorak achieved a high level of sizzle from the start. What was a more amazing exhibition of Smith’s skills came after intermission, with an expansive, airy interpretation of the Pastoral Symphony. You could feel the open-air breezes in the swelling phrases of the first movement. Smith drew from the orchestra a lilting forward momentum there and in the “scene by the brook” that makes up the second movement. He stirred up lots of rustic energy in whipping along the country dancing of the third movement. The feeling was earthy without ever becoming coarse. The fourth-movement storm was as intense as and even scarier than the violent perturbations of later compositions.”

~ Jay Harvey (Indianapolis Star)

Smith makes Orchester Haydn fly…

The Australian conductor is enthralling! The last concert of Orchestra Haydn joined together the two last symphonies of Haydn and Mozart who closed the first phase of Viennese classicism, a symphonic heritage to whom Beethoven would give a further and definitive ‘flap of the wings’ rendering it a universal art form. Symphony No.104 of Haydn begins with a powerful explosion, a primordial big bang which gradually, from the darkness and from the initial chaos, takes shape with the formal clarity of the initial Allegro. The final movement of Mozart’s “Jupiter” should instead be protected by UNESCO as a World Heritage Site. The Australian conductor Daniel Smith gave proof that he understood all of this, conducting the two symphonic masterpieces by memory in an evidently mature performance, assimilated very well through his energetic and determined gestures. His full-of-life interpretation returned all of the expressive meaningfulness to the two symphonic works, making them enjoyed not like music from a wax museum, but still current, fresh and present in their artistic values.”

~ Giuliano Tonini (l’Adige)

“The Warsaw National Philharmonic Orchestra performed under the baton of Daniel Smith, who conducted with youthful exuberance earning huge applause from the audience.”

“A perfect production! Daniel Smith.. it was as if the opera was written for him! The orchestra sounded amazing!”

~ Ekaterina Gudkova (Il viaggio a Reims, The Mariinsky Theatre)

“An extraordinary Easter concert. Conducted by a great Australian. Do not miss it! Last night was the “opening night” with the Orchestra della Toscana, conducted by Daniel Smith. Flawless execution. On the podium of the expert Orchestra della Toscana in fact rose the acclaimed Australian conductor, thanks to the musicality of his interpretations combined with his unique temperament and energy.”

~ QuiLivorno

“One of the most outstanding musicians of our time”

~ Saint-Petersburg TV

Conductor Prodigy from Australia…

“After the concert last night by one of the most sought after and applauded young conductors in the world, Daniel Smith is already being called the new Karajan”.

~ Saint Petersburg News

“Flawless at the Fitelberg: the victorious conductor Daniel Smith. The most remarkable story was the path to victory of Australian Daniel Smith” … “Smith’s campaign came to an electrifying conclusion with the Capriccio from Lutoslawski’s Concerto for Orchestra. Every cue in this complex score was given, every transition skillfully handled, and the performance sparkled with life and energy. The audience had spent the day in heated debates about who would take the top prize but, from that point on, the competition had clearly found its winner.”

~ Gavin Dixon – Gramophone Magazine

“He is a conductor who evokes warm feelings and trust with his very appearance, and this is a great asset of any artist. He is amiable, honest, genuine and spontaneous as nobody here – such conductors are liked most by the audience. He is also very hard-working, he is as busy as a bee, he often goes back, repeats, and additionally he always works very intensely. He is so feverish that sometimes he looks as if he had a kind of seizure. Perhaps it looks a bit funny, but it is authentic, this is him, only him. Besides, if we complain about passive, cold, vague art, let us not complain when somebody goes beyond every single limit to the contrary. I prefer Smith, more than anybody else as far as his temperament, fire, energy are concerned. I also admired his great sensitivity – he conducted the lyrical part with the solo part of the oboe in the Symphony by Karlowicz so beautifully. Great applause for the choice of music – this hymn, these wonderful Polish melodies, these sad memories of ours – it was really moving. He also created great music in the Concerto for Orchestra by Bartok. He was so elegant, nearly dancing, in love with the music – it was so nice to observe his performance in the Intermezzo. And he worked so hard! At the end of this movement, I was really impressed with the work of his hands, he was modelling the solo parts of the oboe, the clarinet or the flutes later on so beautifully. At the end, Lutoslawski. On one hand I admired his legibility, precision, and on the other – great performative sophistication. He cared so much for all subtleties of all figures in this music… this performance was excellent. When he was collecting his score from the pulpit, applauded by the audience, he could not find his baton. I think he had left it in Lutoslawski’s score… it was safe there.”

~ Adam Rozlach – Polish Radio 1

“An amazing musician, an amazing conductor. He is the most filled with music of all the finalists. What a pulse, what a nerve, what a tension in the first great movement of 4th Symphony [Tchaikovsky]. There was so much music, so many musical impressions, so rich, e.g. in the second movement of the symphony. He superbly led the execution of the third movement (he was the only conductor to finally correct the intonation of the woodwinds! Thank you!) And for the finale, he gave a superb concert, showing how an artist can be completely consumed by music… But the fire he created!!! He was feverish! On the one hand, he created passion, a musical game for skilful musicians and fire from all of the orchestra, on the other – a very professional conductor, and of all the young conductors, one based on knowledge, education and intelligence and not just resulting from great passion and love for music. Concerto by Tchaikovsky, the Wieniawski Competition winner played delightfully, Mr Smith crafted the most lyrical parts of the score most beautifully. His task, on the other hand, was just to watch over order, musical movement, and he did it extremely well. The second movement was played lovely, also by the orchestra musicians, and the transition to the finale and the finale itself were played in a truly ravishing style. He was immaculately accurate and precise, and yet he seemed quite relaxed, with a smile, which also appeared on the face of the violinist. It was great fun not only to listen to it, but to watch it, as well…”

~ Adam Rozlach – Polish Radio 1

“To work with somebody like him, even early in the morning, is a real pleasure. Lively as the live wire, cheerful, merry, with a sense of humour. Ruling the orchestra, the sound, itsbalance, as well. In the fragment with the oboe he modelled the music matter meticulously, with laboratory precision. It was a genuine rehearsal. He did not lose even one second. In Mozart he was able to maintaindiscipline and concentration of the ensemble as very few before. Everything was done at a good rate. Nevertheless, the candidate evoked not only warm feelings, but also trust. I am very fond of such lively and livelily reacting conductors.”

~ Adam Rozlach – Polish Radio 1

“The performance was part of the Saskatoon Symphony Orchestra Masters Series. Lara St. John was guest violinist and Daniel Smith conductor. The performance included works by Dvorak and Smetana — a taste of Bohemia and the former Czechoslovakia. The guest conductor, Daniel Smith, is a very interesting person, an Australian. He reminds you of a young Leonard Bernstein, with even more gusto.”

“Waltzes, polkas and marches marked the first morning of 2012 yesterday for 2,500 people who witnessed the grand concert for the New Year by l’orchestre philharmonique de l’Opéra de Nice, under the direction of conductor, Daniel Smith, before a packed sold out Acropolis. The Strauss, from beginning to end of the program, impressed all and has been imprinted on the minds of everyone, after an hour and a half with an outburst of enthusiasm and excitement among the ranks of both the audience and orchestra for his inexhaustible and exceedingly beautiful performance of the ‘Blue Danube’ and the equally anticipated Radetzky March. It was such a success for this yearly ritual for the public, he has now made it the heart of the symphonic season.”

~ Nice-Matin – Orchestre Philharmonique de Nice

“Daniel Smith is the conductor who everyone is talking about!”

~ Sky News Italia

“It’s a perfect evening, at which nature seemed to be in harmony with the music. The concert sold-out, the orchestra in great shape and a young conductor of great talent, is the recipe for the success of this concert which spoke of “the Russian soul” through two iconic composers, Tchaikovsky and Rachmaninov. Young Australian conductor, Daniel Smith, produced pages of rare richness, colour and feelings expressed through subtle tones from the Nice Philharmonic. A river of emotion, which from the outset, immersed the public. The attentive direction and responsiveness of Mr Smith impressively drew the strength of work synonymous with Renaissance of the composer. And to even better illustrate, the musicians asked Daniel to repeat the entire finale as an encore.” – Festival Antibes Génération Virtuoses

~ Orchestre Philharmonique de Nice

“A dynamic, extremely bright conductor, making music with enthusiasm and excitement. He enlivened the orchestra from the very first bars of the symphony (in C major KV 550 “Jupiter” by Mozart). During the rehearsal realising that it needed no detailed comments at the start, he alone, Daniel Smith, trusted and devoted himself to sculpt using only his hands, the character of the music, bringing it many shades of emotion. Extremely musical, he gave many feelings of freshness to seemingly obvious sections. Sensitive to the dynamics of each line, by just conducting, he was present throughout the whole orchestra, listening to and appreciating the music and of the member of each section individually. “Oberon” Karl Maria Weber – he led “equipped” with his baton, strongly emphasising the dark bass register and the melody of every instrument, including those usually hidden, continuing the line. The orchestra listened very attentively to him and he also convinced the orchestra to listen to one another, “softer – first violins” (his left hand showing), “see” (he turned his head for a moment with a smile, pointing toward the woodwind group), “see how beautifully the clarinet plays now.”

~ Lutoslawski International Conducting Competition

“Daniel Smith (Australia) – one of the favourites, not just from the finals, but of the entire competition. Both the orchestra and the audience is in complete connection with him – this counts towards his victory and this victory is also based on cross consultation with others. Leading the orchestra, listening attentively, he tries to be present in every note, he strengthens and becomes the image of each phrase, from time to time he moderates, he makes direct contact with the musicians when he is satisfied – it gives to know that he is pleased with their work. When someone’s phrase or note is out of tune, you cannot hide – Daniel Smith points to his ear, smiling at the same time – you immediately know that he wants attention to intonation. He speaks little, and if he does – you want to listen to him, because his words are to the point, not to discharge the tension – he never gives lectures – rather, gives a parable. For example, in one of the most important solo parts of the funeral march in “Eroica”, the melody in the trio. After sensing inattention, he changed the mood instantly – Daniel Smith stopped the orchestra and shared “this part is the only moment of hope, and all faults in life … are forgotten.” Prior to the finale – in a brief announcement of the mood: “here is completely different, here is something fun for children.” And indeed, all the children expressed joy – lightness, elasticity of sound, tempo. Accompaniment: Violin Concerto in E Minor by Felix Mendelssohn – The Australian treated it exemplary – always the soloist, Kamila Wasik–Janiak was the leader. Before her entry in the final movement, Smith perfectly prepared, in anticipation, the brass with a brilliant articulation for the first “words” of the violin.

~ Lutoslawski International Conducting Competition

“The slender, young Australian Daniel Smith jumped up on the podium in his fine coat and dancing, swings his arms, perhaps to work at some higher level in the Ravel ‘La Valse’. It was certainly an experience that reaped an ecstatic ovation from the well-filled great hall in the DR Concert Hall.”

~ Berlingske Tidende ~ Danish National Symphony Orchestra

“Daniel Smith lead DR SymfoniOrkestret in Ravel’s sense-tickling ‘La Valse’. Smith is 27 years and a certain youthful eagerness didn’t pass unnoticed. It was clear that both he and the orchestra were very familiar with “La Valse”. The orchestra was self-propelled, Smith stopped the musicians only one time during this dress rehearsal – after a few bars, creating an incredible opening atmosphere.”

~ Klassisk ~ Danish National Symphony Orchestra

“The young Australian Daniel Smith – one of the greatest young conducting promises.”

~ Gothenburg Symphony Orchestra - The National Orchestra of Sweden

“The next Herbert von Karajan.”

~ Fairfax Media

“Ormandy is back!”

~ Aspen Festival of Music