The Argus

mar 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

lun 7 mag 2018

La Traviata al Teatro Carlo Felice

Ecco la magistrale direzione del Maestro Daniel Smith, tutta al servizio del pubblico, della fruizione; una direzione che più di una volta salva tutto lo spettacolo, tenendo insieme un’orchestra scalpitante.

Il Secolo XIX

sab 5 mag 2018

La Traviata al Teatro Carlo Felice di Genova

Alla direzione un eccellente direttore ospite, Daniel Smith, che ha eviscerato il capolavoro di Verdi per 15 anni attraverso le diverse interpretazioni e cercandone i lati ancora poco valorizzati.

L'Ape Musicale

mar 24 ott 2017

Sintesi del Novecento

Il giovane Daniel Smith dimostra di non essere solo saggio, ma di essere artista. Le partiture sono dominate con una chiarezza già matura, emerge una visione d’insieme limpida e precisa da cui discende un pieno dominio dell’esecuzione. Ma in quest’esecuzione Smith instilla quella scintilla in più che fa la differenza fra il direttore bravo e preparato e il grande direttore: non ha bisogno di effetti, anzi, tutto è misurato con cura, dal pathos religioso di Messiaen all’impeto rivoluzionario di Šostakovič, ma proprio per questo più intellegibile e incisivo. Lo si osserva nella continuità narrativa della sinfonia rivoluzionaria che potrebbe facilmente cedere alla retorica o, quantomeno, a una drammatizzazione a tinte forti. Invece gustiamo già nel primo movimento una Pietroburgo rivoluzionaria in cui più della sommossa violenta – non negata – sentiamo montare un fermento intellettuale, un dibattito politico sempre più vivace e sofisticato. Il crescendo dell’episodio dell’Aurora si effonde con un’epicità autentica, non esteriore e sfocia naturalmente in un controllatissimo quadro utopistico finale. Controllatissimo, ma altrettanto ispirato, ancora innervato da quel carisma e quell’entusiasmo del far musica che Smith riesce a trasmettere all’orchestra (davvero in ottima forma, dà il meglio di sé) e al pubblico.

Sipario

lun 27 mar 2017

"L'elisir d'amore" al Teatro Carlo Felice

Nel pieno rispetto della partitura, l’esecuzione musicale si rivela ricca di un particolare tono armonioso e con momenti di efficaci sottolineature nelle scene di insieme.

BelliniNews

dom 26 mar 2017

"L'elisir d'amore" al Teatro Carlo Felice

L’orchestra è ottimamente condotta da Daniel Smith, con gestione sicura e molto attenta a non prevaricare mai sulle voci, anzi si dimostra accorto sostenitore dei cantanti: «Una furtiva lagrima» su tutte!

Opera Click

lun 7 mar 2016

Sergeij Krylov e Daniel Smith per la Stagione Sinfonica

[...] La seconda parte della serata ha mantenuto vivi attenzione e gradimento, complici una partitura di grande fascino - Suite 1 e 2 da Daphnis et Chloe di Ravel - e un'orchestra compatta e reattiva, guidata dall'esuberante Daniel Smith. Il giovane direttore australiano pare trasudare entusiasmo ed energia, ha una gestualità decisa ma non eccessiva, incoraggia il solismo delle sezioni, cura le dinamiche ottenendo efficaci contrasti. Ne esce un affresco variegato, curato nel gioco timbrico, sostenuto nelle complesse variazioni ritmiche, seducente nelle sonorità, cui il coro senza parole dà una pennellata di suggestione in più: ben inserito, presente, importante, ha completato con buon equilibrio questa pittura sinfonica ora lieve e sensuale, poi languida, poi ancora dirompente e scatenata, perfetta immagine dell'amore contrastato dei due arcadici pastorelli. Le masse artistiche del teatro genovese si confermano di ottimo livello, particolarmente affiatate se guidate con un certo piglio e carattere. L'effervescenza è traboccata anche a fine esecuzione, con il coinvolgimento di tutti gli orchestrali nell'entusiasmo di Smith, che si è fatto strada tra i leggii del palcoscenico abbracciando, stringendo la mano, inchinandosi a più riprese e calorosamente ringraziando artisti e spettatori.  Con una platea piacevolmente brillante e partecipe. Opera Click

Dagblad De Limburger

ven 30 gen 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

gio 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

mar 21 gen 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

mar 25 set 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

dom 8 gen 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

ven 30 set 2011

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

2011 Festival Antibes Génération Virtuoses

mar 28 giu 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

mer 25 mag 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

ven 15 mag 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.”