N E W Y O R K • L O S A N G E L E S • L O N D O N

ESTONIAN NATIONAL SYMPHONY ORCHESTRA

Critical acclaim for artist

“The Estonian National Symphony under Paavo Järvi not only supports [Evelyn Glennie] blow for blow but plays the entire programme with a palpable sense of passionate conviction. Virgin’s recording is of demonstration standard,

the climaxes in Magma frequently awe-inspiring.”

-BBC Music Magazine, August 2007

“Paavo Jarvi's brilliant recording [of Peer Gynt] presents a 60-minute version of the score, based on a scholarly edition that represents Grieg's final wishes. The familiar music is here, including a chilling account of "In the Hall of

the Mountain King," complete with shrieking chorus. But there are also the original "Arabian Dance," with an

alluring women's chorus and a sultry song for Anitra; "Solveig's Song," complete, sung exquisitely by Camilla

Tilling; and even pieces for solo violin that make Norwegian and Appalachian fiddle music seem not that far apart. This is a surprise highlight of the year.

-Anthony Tommasini, The New York Times, December 15, 2005

“The playing of the Estonian National Symphony Orchestra is superb - full of colour and much-needed atmosphere.”

–The Daily Telegraph

“Paavo Jarvi follows the complete recording (DG) by his father, Neeme Jarvi, with this substantial selection, including all of the popular movements from the suites. His Estonian forces are rugged interpreters of this familiar

work, bringing an earthy folksiness to music depicting the Hall of the Mountain King.” –The Sunday Times

“There is some exceptional playing from the Estonian National Symphony Orchestra, while the chorus have a whale of a time as the Trolls, egging each other on to bite Peer's bum in The Hall of the Mountain King. The soloists are

excellent, too. Peter Mattei is the swollen-headed Peer, Camilla Tilling a dignified, unsentimental Solveig and the incomparable Charlotte Hellekant a camp but lethally seductive Anitra.” –The Guardian

“The Estonian National Symphony Orchestra has a big, unified sound that sweeps the listener along. We can hear

individual instruments only when the score calls for that texture, like the romantic oboe line in the opening of the

Symphonic Dance No. 2. The colors of various wind instruments rise above the orchestra on occasion, adding to the folksy feel of this music, helping to recreate the solitary, peaceful nature of Grieg's homeland.”

–Minnesota Public Radio

“It is unbelievable how many surprises the listener has had this year because of Wolfgang Amadeus Mozart! I cannot wish for any better feeling that I experienced on 1 Oct at the Estonia Concert Hall. /-/ It is obvious that the concert

was a success due to an extremely felicitous match – soloists were worthy of the orchestra and the whole ensemble

was worthy of their conductor! Olari Elts is able to create unbelievable energy flows in the orchestra and among the

soloists which all contributed to the intensity mentioned before and extraordinary sensitivity that was used to guide every harmonic motion from one key to another, let alone extremely pleasant breathing space of minor and lyrical

moods for singers. /-/ At the performance of such a substantial piece it is rare to see participants who all “sit in the

same boat”. /-/ As Mozart used to enjoy the Munich orchestra who in his opinion had the best sound in its’ time, then I am happy to say that this particular night we were also offered the very best, not to mention the richness of tempo

changes and musical colours by Olari Elts.”

–Tiiu Levald, Estonian weekly cultural newspaper Sirp (on 6 Oct, 2006 „Worthy present for International Music Day”). Concert performance of MOZART’s opera

ARTIST

PAGE 2

IDOMENEO: ERSO, Estonian National Male Choir and soloists, conducted by OLARI ELTS, on 1 Oct, 2006, Estonia

Concert Hall.

“Estonia has a top quality symphony orchestra that gives about 60 (!) concerts per year and has never experienced a

lack of audience and applause. Nikolai Alexeev, the principal conductor of ERSO has said that with this orchestra one

can perform any kind of music at any hall anywhere in the world, the same has been stated by maestro Neeme Järvi. On 20 Dec ERSO will be celebrating its’ 80th anniversary at the Estonia Concert Hall and the orchestra will be

conducted by Paavo Järvi, the orchestra’s artistic adviser and the principal conductor of two European top

orchestras.”

–Toomas Velmet, Estonian daily newspaper Eesti Päevaleht

(on 18 Dec, 2006 “To the world market at the age of 80!”)

T 212.584.7500 • F 646.300.8200 • info@opus3artists.com • www.opus3artists.com

The 2009 tour of Estonian National Symphony Orchestra and pianist Joyce Yang has been wildly successful, receiving rave responses from critics and audiences alike.

South Florida ClaSSiCal review

“The Estonians do not sound like what we are used to, do not act like what we are used to, but have a special excellence all their own. The standard of discipline is high and so is the protocol.”

“Part’s 1977 piece is most beautiful, sort of a reverse mini-malism in which an extended string threnody is set against the ever-present tolling of a bell...It was devastatingly performed, just as it should be.”

“Her performance of Prokofiev’s Piano Concerto No. 3 set her apart from the crowd in its emphasis not only on the percus-sive elements of the score, but on its lyricism as well...Yang uses her entire body to thrust forward all the rhythmic intrica-cies and powerful forte attacks required. When release does occur, as in the Andantino’s variations, her ability to coax the most delicately shaded sonorities from the keyboard was amazing. The orchestra, and its wonderfully thick and reedy woodwinds, caught details mostly lost by other groups. For this we must praise Alexeev, and his superb control–extending even to the molding of phrases from his fingertips.”

KanSaS City Star

“The Estonian National Symphony Orchestra displayed colos-sal musical talent Friday night. In fact, its performance in Yardley Hall at the Carlsen Center was one of the most musi-cally satisfying evenings of the entire season.”

Estonian National Symphony Orchestra with Joyce Yang

ARTISTS

“Yang not only deftly negotiated the virtuosic piano part--she also added a magnificent sense of line and color.”

“Sweeping emotional passages and dancelike rhythms char-acterized the finale. Once again, Yang played brilliantly, with technical proficiency and musicality.”

“As an encore, the orchestra played Sibelius’ best known work: the brief symphonic poem “Finlandia.” Once again the sound was simply stunning.”

“Soloist Joyce Yang’s gymnastics on the keyboard were stun-ning. She combined flying fingers, crossed hands and delicate touch with great confidence, and the orchestra accompanied her with precision, constraint, and energy. Although the burst of applause that followed this first movement went against the conventions of classical concert decorum, it felt inevitable.”

“The music of the last movement capped is strong and gran-diose, but the orchestra was well balanced—particularly the brass section, which can easily overwhelm. Wild applause greeted the end of an exceptional performance.”

Santa BarBara independent

“In the Andante I heard more broad musical landscapes con-firmed the impression of an orchestra that is comfortable in its own skin. The Vivacissimo was precise, with the punctuation by the brass notably balanced. The last movement, Allegro, brought on waves of pure sentiment with the scenery.”

“The orchestra under Eri Klas performed beautifully, and although the Prokofiev was the star of the show, everything else was perfectly appropriate and gave a fitting perspective on some wonderful 20th century music. Thank you to CAMA for bringing this jewel of an evening to Santa Barbara.

Estonian National Symphony Orchestra

Santa Barbara Independent April 2, 2009

Estonian National Symphony at the Granada BY WILLIAM WATSON

From the very first sounds of the strings in Arvo Pärt's Summa (1991) it was clear that the Estonian National Symphony

could produce a tone to match any contemporary orchestra. With its amazingly sparse components and slow-moving

changes in harmony and tempo, Summa is both classic Pärt and the embodiment of musical minimalism.

Next came the Piano Concerto No. 3 in C Major, Op. 26 (1907) of Sergei Prokofiev. Its first movement starts with a

wonderful soaring theme that quickly morphs into a kind of bouncing violence. Soloist Joyce Yang's gymnastics on the

keyboard were stunning. She combined flying fingers, crossed hands and delicate touch with great confidence, and the

orchestra accompanied her with precision, constraint, and energy. Although the burst of applause that followed this first

movement went against the conventions of classical concert decorum, it felt inevitable. The Andantino con variazioni

that followed was thoroughly satisfying, and made a clear statement of both the theme and its intricate and rhythmically

interesting variations. The music of the last movement capped is strong and grandiose, but the orchestra was well

balanced—particularly the brass section, which can easily overwhelm. Wild applause greeted the end of an exceptional

performance.

After the interval came another composition by Arvo Pärt, the Cantus in Memoriam Benjamin Britten (1977). This is

minimalism at its most approachable—one long descending soundscape, punctuated by the mournful chimes of the

bell, that culminates in sublime resolution. From the very first chime of the bell this performance contained great

feeling.

Finally came the Symphony No. 2 in D Major, Op. 43 (1902) of Jean Sibelius. It is a glorious statement of national

pride that uses broad themes to evoke the snowy forests of Finland. The first movement was very satisfying with tight

woodwinds, blended brass and delightful pizzicato cellos and basses. In the Andante I heard more broad musical

landscapes confirmed the impression of an orchestra that is comfortable in its own skin. The Vivacissimo was precise,

with the punctuation by the brass notably balanced. The last movement, Allegro, brought on waves of pure sentiment

with the scenery.

The orchestra under Eri Klas performed beautifully, and although the Prokofiev was the star of the show, everything

else was perfectly appropriate and gave a fitting perspective on some wonderful 20th century music. Thank you to

CAMA for bringing this jewel of an evening to Santa Barbara.

Estonian National Symphony Orchestra

Kansas City Star March 21, 2009

Review: Estonian National Symphony Orchestra BY TIM MCDONALD

Estonia is a small country by most standards, but the Estonian National Symphony Orchestra displayed colossal

musical talent Friday night.

In fact, its performance in Yardley Hall at the Carlsen Center was one of the most musically satisfying evenings of the

entire season.

From the outset the orchestra proved to be a highly disciplined ensemble with a warm and well blended sound in the

"Cantus in Memory of Benjamin Britten" by Estonian composer Arvo P'rt.

The orchestra's long, well-regulated crescendo was impressive, as was the dark, rich sound produced by the cellos and

double basses.

Pianist Joyce Yang, a silver medalist in the 2005 Van Cliburn International Piano Competition, joined the orchestra in

Sergei Prokofiev's "Piano Concerto No. 3 in C Major."

Piquant harmonies and incisive rhythms abounded in the opening movement. Yang not only deftly negotiated the

virtuosic piano part--she also added a magnificent sense of line and color.

Conductor Eri Klas is by no means a flamboyant director. With an economy of motion he was able to control the

multiple musical seams that appeared in each movement.

The second movement opened with a folklike theme that alternated with more turbulent sections. Again the orchestra

made the tempo changes in impeccable fashion.

Sweeping emotional passages and dancelike rhythms characterized the finale. Once again, Yang played brilliantly, with

technical proficiency and musicality.

The only flaws in the performance were a handful of rapid high violin passages with questionable intonation and blend.

The best work on the program was "Symphony No. 2 in D Major" by Finnish composer Jean Sibelius.

Employing the fullest orchestration on the program, the work also featured the richest sound. The dark string and wind

colors were highly conducive to Sibelius' music.

Again, Klas evoked maximum effectiveness in phrasing and dynamics from minimal gestures. At the opening of the

second movement, the pizzicato in the cellos and basses remained precise even with a significant slowing of the tempo.

As the work progressed into the final two movements, the orchestra seemed to get better and better. The result was a

compelling, edge-of-the-seat performance.

As an encore, the orchestra played Sibelius' best known work: the brief symphonic poem "Finlandia." Once again the

sound was simply stunning.

Estonian National Symphony Orchestra

South Florida Classical Review March 11, 2009

Estonian orchestra a distinct success with help from young pianist BY ALAN BECKER

Founded 81 years ago, but now making its first North American tour, the Estonian National Symphony made an

appearance Monday at the Broward Center for the Performing Arts. Nikolai Alexeev conducted a program that

included a piece by the noted Estonian Arvo Part along with some well-worn favorites.

Most readers will wonder if the orchestra is different from most symphonic ensembles we are familiar with. The

answer is a definite yes. The Estonians do not sound like what we are used to, do not act like what we are used to, but

have a special excellence all their own. The standard of discipline is high and so is the protocol. There is no warm-up

orchestral din onstage preceding the concert. The Estonians enter together and seat themselves quietly to await the

arrival of the conductor. The concertmaster makes no grand entrance and receives no separate applause. When the

conductor arrives all players stand to honor him. Of special note is the large number of women in the orchestra, all of

them attractively slim and trim.

In Part’s Cantus in Memory of Benjamin Britten , and the other works, bowing is unified, apparently decided early on.

It makes for a more intense and less silken string tone then most major orchestras. It also provides a uniquely

distinctive sound, setting them slightly apart from what we’re used to. Part’s 1977 piece is most beautiful, sort of a

reverse minimalism in which an extended string threnody is set against the ever-present tolling of a bell. The work,

only five minutes in duration, takes the Renaissance form of a mensuration canon several steps beyond and creates a

piece of great sadness. It was devastatingly performed, just as it should be.

The young Korean pianist Joyce Yang was born in 1986 and gained international renown when she was awarded the

silver medal at the 2005 Van Cliburn International Piano Competition. Her performance of Prokofiev’s Piano Concerto

No. 3 set her apart from the crowd in its emphasis not only on the percussive elements of the score, but on its lyricism

as well. After the opening clarinet solo, conductor Alexeev whipped the orchestra into a frenzy of speed and dynamics

that was easily matched by his soloist. Although slight in appearance, Yang uses her entire body to thrust forward all

the rhythmic intricacies and powerful forte attacks required. When release does occur, as in the Andantino’s variations,

her ability to coax the most delicately shaded sonorities from the keyboard was amazing. The orchestra, and its

wonderfully thick and reedy woodwinds, caught details mostly lost by other groups. For this we must praise Alexeev,

and his superb control–extending even to the molding of phrases from his fingertips.

Dvorak’s Symphony No. 8 has seen many performances over the years, and bringing something new to the music is not

an easy task. Alexeev and his group may have whipped up the tempos sufficiently to raise a few eyebrows, but what

excitement they created. With ample opportunity for those winds to shine, the music sounded just right, and reminded

one of just what has been missing from all those other performances.