The Argus

Tue 17 Mar 2015

London Philharmonic debut concert

“Three works which together symbolise the utmost in style galant were performed with pinpoint precision by the London Philharmonic Orchestra on Sunday.  Early Beethoven (Symphony No l), mid-period Haydn (Piano Concerto in D), and late Mozart (Symphony No 41), with the wild card of a Rossini Overture, made a programme 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. Soloist in Haydn’s concerto was Russian pianist Maria Meerovitch, a consummate musician to her virtuosic finger tips, but one who needed the second movement to gain confidence before happily rattling through the final rondo. […]

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.”

GB Opera Magazine

Mon 7 May 2018

La Traviata at Teatro Carlo Felice in Genoa

And thus arrives the masterly direction of Maestro Daniel Smith, at the complete service of the public and of the operatic fruition; a leadership that more than once saves the whole production, delivering together an orchestra 'champing at the bit' with enthusiasm.

Il Secolo XIX

Sat 5 May 2018

La Traviata at Teatro Carlo Felice in Genoa

In charge, the first-class conductor, Daniel Smith, fresh from the Paganini International Violin Competition, who has eviscerated Verdi's masterpiece for 15 years through different interpretations, in search of the undervalued aspects. Nothing left to chance, every detail noted.

L'Ape Musicale

Tue 24 Oct 2017

Synthesis of the Twentieth Century

The young Daniel Smith proves not only to be wise, but also to be “an artist”. The music is dominated by his already mature clarity, a clear and precise vision emerging, from which a masterful execution is delivered. And in this execution, Smith instills that extra spark that marks the difference between a good, prepared conductor and a grand Maestro: he does not need any choreographed special effects, instead, everything is measured with care, from the religious pathos of Messiaen to the revolutionary impetus of Shostakovich, and for this, he is extremely intelligible and incisive.

Sipario

Mon 27 Mar 2017

"L'elisir d'amore" at Teatro Carlo Felice in Genoa

In the complete observance of the score, the musical interpretation is plenty of a specific well-balance character and with good efforts in underlining specific moments in the "assieme" scenes.

BelliniNews

Sun 26 Mar 2017

"L'elisir d'amore" at Teatro Carlo Felice in Genoa

The orchestra is extremely well conducted by Daniel Smith, paying an accurate and careful attention to the balance between the orchestra and the voices, supporting especially the latests: "Una furtiva lagrima" above all!

Opera Click

Mon 7 Mar 2016

Sergeij Krylov & Daniel Smith for the Symphonic Series

An amazing concert, which will remain forever in our hearts [Teatro Carlo Felice, Genova, Italy]. Huge success. Sharp focus and satisfaction, complicit with a musical score of grand fascination (Ravel’s Daphnis et Chloé) and a united and responsive orchestra, driven by the exuberant Daniel Smith. The young Australian conductor oozes enthusiasm and energy, with decisive but never excessive gestural expressiveness, encouraging the soloists of each section and a careful treatment of the dynamic line, obtaining successful and effective contrasts. What emerged was a diversified fresco, of superior tonal effect which was sustained throughout the complex rhythmic variations, seductive in sonority and the chorus without words adding a stroke of evocative charm on top: well-integrated, lucid, elegant yet powerful, Smith completed this symphonic painting with good balance, at first, light and sensual, then relaxed and peaceful, then even more explosive, volatile and unleashed, the perfect image of love thwarted by the two Arcadian shepherds. The ‘artistic masses’ of the Genovese theatre also affirmed the performance as optimal, particularly close-knit and driven with a unique character and manner. The effervescence also overflowed at the conclusion of the performance, with the involvement of every musician and chorus member in their enthusiasm for Smith, who then made his way between the stands on the stage embracing, shaking hands and returning to the stage for a multitude of curtain calls, earnestly and heartily thanking the artists and spectators alike. An audience in an agreeably vibrant standing ovation. Opera Click

Dagblad De Limburger

Fri 30 Jan 2015

Debut Concert with the South Netherlands Philharmonic

“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.”

L’Adige

Thu 20 Feb 2014

“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.

Indianapolis Star

Tue 21 Jan 2014

USA debut with the Indianapolis Symphony

“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, Beethoven's introduction to the country scenes he was inspired by but had no intention of depicting literally. 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 with the benefit of technical advances in instruments and vaster panoplies of percussion.”

Frankfurter Allgemeine Zeitung

Tue 25 Sep 2012

with the Frankfurt Radio Symphony Orchestra

‎"Smith sensed and created distinguished subtle timbres and rhythmic passages which were accurately and precisely executed."

Nice-Matin

Sun 8 Jan 2012

with the Orchestre Philharmonique de Nice

“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.”

Sky News Italia

Fri 30 Sep 2011

"Daniel Smith is the conductor who everyone is talking about!"

2011 Festival Antibes Génération Virtuoses

Tue 28 Jun 2011

Concert sold-out, orchestra in great shape and a young conductor of great talent

"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."

Lutoslawski International Conducting Competition

Wed 25 May 2011

A dynamic, extremely bright conductor, making music with enthusiasm and excitement.

“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 realizing 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 emphasizing 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."

Klassisk

Fri 15 May 2009

with the Danish National Symphony Orchestra

“Daniel Smith led 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.”