The new music recorded by the Royal Concertgebouw Orchestra gives little indication that a crisis was taking place. ★★★★☆

Guido van Oorschot, from de Volkskrant

"[...] Four youngsters nestle between the perfect beauty of Theo Verbey, who died in 2019, and the funny beauty of Martijn Padding.[...]"

EBENBILD: ” A polished gem, this album is truly a heightened experience.”

Melissa Scott, from The WholeNote

Ebenbild Juri Vallentin; Trio d’Iroise; Bernward Lohr; Caroline Junghanns PASCHEN Records PR 220072 ( 'Only to be described as unique and colourfully unconventional, the newly released album Ebenbild, featuring oboist Juri Vallentin and the Trio d’Iroise, is a blend of recited song text, choruses by J.S. Bach,…

The Quest of Oboist Juri Vallentin Becomes a Listening Adventure

Guido van Oorschot, translated by E.J. Stevens, from de Volkskrant

★★★★☆ Although you might not suspect it when immersed in Bach's St Matthew Passion, the chorale melody that is played after Jesus is mocked and beaten, O Haupt voll Blut und Wunden, comes from a 16th-century love song. Mein G'müth ist mir verwirret, I am confused because of a damsel. The German oboist Juri Vallentin discovered that after Bach's…

Santtu-Matias Rouvali makes versatile debut with the Royal Concertgebouw Orchestra

Jenny Camilleri, from Opera Today

... Ariadne, like Verdi’s overture, combines transparent lyricism with dramatic progression. Starting out with fragile flute figures, it swells to include the full complement of strings. When the whole range of the brass comes in with a driving motif, there is sinister menace. The piece constantly changes colour and texture, making use of the…

Gloriously Rocking Chameleon

Gwendoline Thornblade, from Boston Musical Intelligencer

"Boldin dedicated the concert to the Dutch composer Theo Verbey, who died in October. His Four preludes to Infinity for oboe, violin, viola and cello came right after intermission. Each prelude recalls and recognizes the music of former times and celebrates its perpetual existence: “Mysterious” — the Second Viennese School of Schoenberg, Berg and…

Invitation to a Beheading

Roeland Haendonk, translated by Anne Hodgkinson, from Het Parool

Everything that Theo Verbey does sounds terrific. It is well constructed, always has a well-structured dramatic narrative line, and is equally well elaborated in subtle instrumental colors. Verbey uses this technical skill to make music that sounds understatedly natural, looking back with a touch of melancholy. Verbey has withdrawn to his own…

Introdans fits loosely beneath the umbrella of the Moderne Meisjes (‘Modern Girls’) program

David Levie, translated by Emma Rault, from Apeldoorn Direct

... After the interval, the caliber is maintained as the vibe becomes playful, thanks to Regina van Berkel and a functional decor in the form of a spine from prehistoric times when giant reptiles populated this Earth. She was inspired by Salvador Dali, which does not come without its risks. Introdans’ performers more than hold their own, however.…

Introdans dances fine art – anything but insipid (****)

Miriam van der Linden, translated by Emma Rault, from De Volkskrant

... Take Regina van Berkel (1969), on the other hand. She and surrealist painter Salvador Dalí are a match made in heaven. The theatrical Frozen Echo (2011) is set to the rich orchestral composition of the same name by Theo Verbey, in which high, thin notes alternate with heavy brass, timpani and a wind machine. The eyecatcher in the fascinating…

Introdans combines modernism with traditional ballet

Dick van Teylingen , translated by Emma Rault, from Theaterkrant

... The first glimpse the public gets of the third piece of the evening is truly impressive. Regina van Berkel choreographed Frozen Echo in 2011 for the Ballet am Rhein in Düsseldorf to the composition of the same name by Theo Verbey. A dinosaur spine curves across the stage, made from 70 old-fashioned tube computer monitors by set designer…

Memory of a Shape by Introdans ****

Mirjam van der Linden, from De Volkskrant

“From complex simplicity to a tidal wave of emotions” Regina van Berkel’s […] ‘Memory of a Shape’, created for ballettmainz in 2009, was the Dutch premiere of the evening. Van Berkel's approach uses ‘fractal figures,’ figures arising from the multiplication of a basic form. The choreography is set to Theo Verbey’s ‘Fractal Symphony,’ an exciting…