Saint Louis Symphony Orchestra
“Although Varga was a guest conductor, a listener might find it difficult to detect that he had not worked with the orchestra on an ongoing basis. He seemed to understand the ensemble as neatly as his own hand.”
KDHX Radio, 13 April 2008
Saint Louis Symphony Orchestra / Schumann, Symphony No.3
“Varga looks the part of the great maestro, with his lithe, meaningful movements and handsome head of beautiful silver hair. More importantly, he explored the symphony’s themes and moods. The final movement was a delightful blend of the regal and the rollicking; the conclusion was big and exciting, but not overstated.”
Post Dispatch, 13 April 2008
Detroit Symphony Orchestra
"If conductor Gilbert Varga isn't exactly a household name in America, to judge from his appearance Friday morning with the Detroit Symphony Orchestra it's about time we got to know him better. "
"Varga led the DSO in a performance that mixed liquid sensuality with electric urgency…"
"Varga also showed his finesse as an accompanist, or more accurately as a chamber musician, in a flavorful account of Ravel's Piano Concerto in G with soloist Jean-Yves Thibaudet. "
The Detroit News, 2 February 2008
Detroit Symphony Orchestra / Bartok Miraculous Mandarin
"Varga leaned hard into the score to illustrate every detail, and the orchestra dug deep, producing shockingly vivid images and graphic intensity. Brass and percussion created jagged edges, but the strings cut a savage path, too."
The Detroit Free Press, 2 February 2008
Minnesota Orchestra / Mendelssohn Italian Symphony
"It was given an electrifying and utterly enjoyable interpretation by guest conductor Gilbert Varga and the orchestra, one that seemed like an act of exultant liberation."
"After obeying concerto conducting's strictures during the concert's first half, Varga broke his bonds with a confident, charismatic and exprtremely entertaining interpretation of the Mendelssohn. Bouncing, weaving and leaping on a spiritedopening movement, the flamboyant conductor seemed a student of the Bernstein school. He then found peace in the andante, and acho of longing in the third movement and darting, shadowy glimpses of unease and anxiety in the finale".
Pioneer Press, November 2007
Minnesota Orchestra
"The conductor is Gilbert Varga, an adroit accompanist and elegant podium presence"
Star Tribune, November 2007
Dallas Symphony Orchestra / Beethoven
"Guided by Varga's fleet tempos and clear textures, the DSO played with a lean sound that allowed the impish character of the works to shine through."
Star Telegram, October 2007
Frankfurt Museum with Antti Siirala
"Gilbert Varga's performances of these very different works were as authentic as possible, communicating in careful but energetic and demanding gestures."
Stuttgarter Nachrichten, November 2006
Rundfunk-Sinfonieorchester / Veress, Bartók, Janacek, Scriabin
"Mit Eleganz und Präzision und reichlich Csárdás in der Schuhsohle, so trat Gilbert Varga vor das Rundfunk-Sinfonieorchester Berlin. Fast spielte er die gute Baiba Skride an die Wand, obwohl er gar nicht spielte, sondern eben nur dirigierte oder, wie man früher gesagt hätte, "begleitete". Außerdem braucht so viel ekstatische Pracht ein prächtiges Orchester - beide Bedingungen wurden ohne Abstriche erfüllt."
"Varga stood in front of the Berlin Radio Orchestra with elegance and precision, and with a Csárdás on the soles of his shoes. Scriabin's Poème de l'extase is more of a symphonic curiosity than a stroke of genius, and only unfolds its many facets under the right conductor. Such ecstatic splendour also requires a splendid orchestra: both requirements were unquestionably fulfilled."
Berliner Morgenpost, March 2006
"Für die sorgt an diesem Abend vor allem Gilbert Varga am Pult des Rundfunk-Sinfonieorchesters: In Sandor Veress' Threnos und in Skriabins "Poème de l'extase". Vom ersten Takt an dringt Varga in Veress' 1945 uraufgeführtem Bartók-Gedenkstück in das schwarze Herz des Streicherklangs vor - dorthin, wo die echten Gefühle wohnen. Krönender Abschluss ist jedoch Skriabins orgiastisches Orchestergedicht: Nicht im Salonlicht hysterisch-fiebriger Sinnesüberfeinerung, sondern als kraftvoll positivistische Vision einer befreiten Menschheit entfaltet Varga das Stück und entlockt dem grandios aufspielenden RSB einen verschwenderischen Reichtum an Farbnuancen. Ein Rausch, der nie süßlich klingt, sondern mit hymnischer Kraft gesättigt ist. Aber Skriabin war ja auch nicht verliebt."
"Gilbert Varga coaxed the Radio Symphony Orchestra into expressing big emotions in Sandor Veress' Threnos and in Scriabin's Poème de l'extase. From the first bar of Veress' piece in honour of Bartok, first performed in 1945, Varga dug deep into the darkest heart of the string sound - where real feelings lie. The crowning glory was Scriabin's orgiastic orchestral poem. Varga unfolded the piece not in the hysterical, feverish half-light of the salon and its over-sensuality; but as a powerful, positive vision of a free humanity, and elicited a generously rich range of colour nuances from the grandiose RSB. An intoxicating piece, which did not sound overly sweet, but was saturated with a hymn-like strength."
Der Tagesspiegel, March 2006
"Gilbert Varga tat da das einzig Sinnvolle: Er nahm beide Musiken (Veress und Skrjabin) eher ruhig und entspannt, fast schon sachlich. Veress Threnos ließ er in der Mischung aus gespenstischer Ruhe, krachender Eruption und reiner Atmosphäre vorüberziehen und verleugnete auch nicht die Filmmusiktauglichkeit mancher Stellen der Komposition: Man durfte da gerne an einen Sonnenuntergang mit Menschen, die sich tränenreich in den Armen liegen, denken. Ein solches Stück kann man nicht interpretieren, aber es wirkt in seiner Unmittelbarkeit; bereits hier gab es Bravo-Rufe.
In Alexander Skrjabins Poème de l'Extase versuchte Varga erfolgreich, gegen die etwas überinstrumentierte Partitur zu arbeiten. Er holte viele Einzelstimmen heraus, nahm den Klangschwall immer wieder zurück und ließ die Musik bisweilen herrlich knapp und pointiert wirken, manchmal fast zärtlich und - wo es ging - geradezu tänzerisch. Er setzte gewissermaßen dem Egomanen und Mystiker Skrjabin ein heiteres Augenzwinkern entgegen. Die Schwüle wurde durch eine erfrischende Brise erträglich. Er spielte mit den Orchesterfarben..."
"Gilbert Varga did the only meaningful thing possible with this programme of Veress and Scriabin: he performed both pieces quite calmly and with ease, in a matter-of-fact manner. In Veress' Threnos, he made space for the mixture of ghostly quiet, crashing eruption and pure atmosphere, and did not deny the film music quality of many sections of the composition: you could all too easily see the sunset, with people lying in each others arms, eyes full of tears. Such a piece cannot be interpreted, but it works in its straightforwardness: it earned Varga many shouts of 'bravo'.
In Alexander Scriabin's Poème de l'Extase , Varga was successful in working against the over-instrumentated score. He brought out many individual parts, brought each wave of sound back down again, and occasionally let the music sound wonderfully concise and pointed, at other times nearly tender, and - where it allowed - dancing. He more or less winked cheerfully at the egomaniac and mystic Scriabin. The sultriness was made bearable by a refreshing breeze. Varga played expertly with the orchestral colours."
Kulturradio am Morgen , March 2006
"Varga dirigierte das gigantisch besetzte Werk so (Skrjabins Poème de l'Extase ), dass man ohne Kenntnis des Textes präzise erfasste (und das keineswegs nur intellektuell), worum es ging. Varga tat es auswendig und sehr kundig. Disziplin und Kenntnis können den Spaß eben auch steigern. Das Publikum raste. Bei einem Konzert mit Musik ausschließlich des 20. Jahrhunderts ist das selten."
"Varga conducted Scriabin's Poème de l'Extase , with its gigantic orchestration, such that even if you did not know the words of the poem, you immediately grasped what it was about (and not just intellectually). Varga conducted the piece off by heart, and with authority. Discipline and knowledge can at times such as this increase the fun. The audience raved, which is rare for a concert of exclusively 20th century music."
Berliner Zeitung, March 2006
Minnesota Orchestra / Franck's "Le Chasseur Maudit"
"…the orchestra attacked it with fearsome fury, catching the contagious enthusiasm that conductor Gilbert Varga brought to the podium."
Pioneer Press
Minnesota Orchestra / Franck, Liszt, Kodaly
"Both [Lortie] and Varga seemed bent on underlining the work's jagged textures and daring harmonies. The performance was a big success. At his most experimental, Liszt foreshadows the music of later Hungarians: Bartok and Kodaly. Perhaps aiming to hint at these connections, Varga, who himself is Hungarian, closed the evening with Kodaly's rambunctious Suite from his comic opera "Hary Janos," during which Laurence Kaptain provided deft touches of atmosphere on the cimbalom, a large dulcimer that is associated with Hungarian folk music. Varga drew a vivid and colorful performance from the orchestra, as he had done all evening."
Star Tribune
The Philidelphia Orchestra / Bartók, Ravel, Mendelssohn
"Varga, making his orchestra debut on theses concerts, proved master of a complex showpiece in Bartók's Suite from the Miraculous Mandarin , and the orchestra played like a dream - vivdly, expertly and with an edge."
The Philadelphia Inquirer, October 2005
WDR Cologne / Barber, Bartók
"…There was nothing to fault in the brilliant interpretation of Bartók's Four Pieces for Orchestra Op.12. Still tranquillity in the first movement, lyrical longing in the Intermezzo, gloomy tragedy in the final mourning march - Varga raised the very different structures and moods of the character movements with loving care."
Bonner Generalanzeiger, January 2004
Saint Louis Symphony Orchestra / Rachmaninov, Rimsky-Korsakov
"…the audience at Friday night's sold-out concert at Powell Hall got to hear conductor Gilbert Varga and the St. Louis Symphony Orchestra in a memorable and outstanding performance. Varga was on the short list in the orchestra's music director search, and it's easy to see why. He's stylish but direct, well-prepared and clear in his conducting. He brought out a full, warm ensemble sound from the orchestra".
St. Louis Post
Orquesta Sinfonica de Euskadi / Ravel, Respighi, Tchaikovsky, Dvorak
"The solo passages rose beautifully from the orchestral accompaniment, a whirling and impressionistic carpet of sound that was painstakingly and delicately created by Gilbert Varga ... Gilbert Varga led the orchestra with great sensitivity, and indulged the audience with his colourful shades of sound, starting with the finest piano and ranging throughout the whole dynamic range of the orchestra. This was even more evident in "Ma mère l'oye" by Ravel, a thrilling invocation of the enchantment of early childhood. ... Gilbert Varga showed Dvorak's 8th Symphony, the orchestral highpoint of the concert, to be a lively and deeply emotional work. "
Südkurrier, February 2003
Milwaukee Symphony / Mozart, Mendelssohn, Nielsen
"He has perhaps the best stick technique of any conductor I've seen since Erich Leinsdorf. He is economical and utterly clear in his intentions, but Varga is no mere technician. His gestures overflow with warmth and understanding, to which the players responded sensitively. Even the most mundane details of the score…glowed with beauty."
Milwaukee Journal Sentinel, October 1999
Orchestre de Paris / Chopin, Bartók
"He accomplished his mission with constant care, remaining perfectly faithful to his prestigious soloist…He conducted this difficult work from memory, making the Orchestre de Paris sound jubilant while displaying total ease in a work so closely related to his lineage."
Le Figaro
Indianapolis Symphony (Bartók Wooden Prince Suite)
"Greater challenges of colour and rhythm were well met in The Wooden Prince, and the fantastic, but psychologically realistic, story seemed to spring into three-dimensional life. Varga managed some difficult transitions and tempo fluctuations with a kind of precise flamboyance. You don't see that in many who wave a stick for a living."
The Indianapolis Star, October 1999
Milwaukee Symphony / Mozart, Beethoven, Kodaly
"Gilbert Varga's conducting was a case study in grace and economy of means at Friday's Milwaukee Symphony matinee. Varga's elegance got results. Good balance, ensemble and rhythm, finely shaded dynamics and thoughtful interpretations were the rule throughout."
Milwaukee Journal Sentinel, October 1999
Berliner Sinfonie-Orchester / Schubert, Mendelssohn, Chausson
"Gilbert Varga wields his baton like a gentleman. His gestures are clear and unmistakeable and without fuss. He communicates the music in a very attractive way, with taste and elegance."
Berliner Morgenpost
Rotterdam Philharmonic / Bartók Miraculous Mandarin Suite
"Gilbert Varga leapt into these colourful scores with passion, energy and enthusiasm and urged the orchestra to a wild, turbulent "painting" of this bizarre story."
Trouw
Gürzenich-Orchester / Debussy, Mozart, Bartók
"He seemed to work small miracles. His relaxed movements, his precise beat, his ability to realise his mode of expression without any showy effects, and his refusal to rely on a score, in order to fix the orchestra with his gaze - all this worked like a charm on the playing and the concentration of the musicians.
Kölner Stadt Anzeiger, December 1998
The musicians let themselves be inspired by this whirling dervish of a conductor, and made music with as much passion as they were capable. Thus the Bartok provided a marvellous ending to concert worth hearing."
Kölnische Rundschau, December 1998