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Stravinsky, The Rake's Progress (Teatro Colón 2001) Federico Monjeau, Clarin Already in the powerful fanfare at the opening of the opera, one perceived the security of the musicians and the security of the conductor, Stefan Lano. The work of Lano is masterful; precise, subtle and expressive, he chooses the best tempos imaginable and creates most delicate situations and moods of beautiful chamber music. The orchestra responded admirably. Martin Liut, La Nacion Public and orchestra applauded enthusiastically the conductor, Stefan Lano in his long anticipated return to the Teatro Colón. He again demonstrated his technical solidity in realizing a most difficult opera at a very high niveau of performance. The Rake's Progress is extremely demanding for the orchestra, with many exposed passages demanding Mozartian clarity and precision. Lano accomplished this with his customary professionalism. Carlos Ernesto Ure, La Prensa On the podium was the Bostonian conductor Stefan Lano who had once again mesmerized the orchestra to a level of concentration, which was perceptible to all. They celebrated a most solid rendition: very well controlled, musically exquisite and with a dramatic sweep uncommon for this most difficult score. Stravinsky, The Rake's Progress (Theater Basel, 1996) Felix Falkner, ORPHEUS Magazine Basel's new conductor, Stefan Lano, presented his first premier with this production. In collaboration with the stage concept, he interpreted the score in a more lyric fashion with bel canto delicacy and beautiful dynamic shading. The analytical edge, the element of parody and humor took, perhaps,, a small step back to the benefit of the orchestra's joy in performing a Stravinsky of seductive beauty. Johannes Adam, Badische Zeitung With Stefan Lano, Basel's new conductor, the Stravinsky score was in best, and for the stage, most supportive hands. He allowed the outstanding Basel Radio-Symphony-Orchestra to play in a most chamber-music-like fashion. Of special merit were the beautifully nuanced woodwind colors. Lano avoided the often heard rhythmic trampling of Stravinsky scores and illustrated all the more that Stravinsky, in this neo-classical and ironic work, composed as would a twentieth century Mozart. Home | Biography | Agenda | Reviews | Audio | Contact
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