Successful tour by the Ukrainian National Orchestra and Raphaela Gromes

©Sven-Kristian Wolf

 

From November 13 to 28, 2024, acclaimed German cellist Raphaela Gromes embarked on an impressive European tour alongside the Ukrainian National Orchestra under the baton of Chief Conductor Volodymyr Sirenko. The ensemble performed in prestigious venues such as the Berlin Philharmonie, the Elbphilharmonie in Hamburg, the Philharmonie Essen, the Prinzregententheater in Munich, as well as in cities like Antwerp, Vaduz, and Zug.

At the heart of the concert program was Antonín Dvořák's Cello Concerto in B minor, Op. 104, a cornerstone of the Romantic repertoire. This masterwork was framed by a diverse selection of pieces, blending classical and Ukrainian traditions. The program featured compositions by Dmitrij Bortnjanskij, a trailblazer of Ukrainian music, and contemporary works by Yeven Stankovych, whose music bridges Ukrainian heritage with modern influences. The repertoire was further enriched by the orchestral brilliance of Jean Sibelius and the lyrical elegance of Felix Mendelssohn-Bartholdy.

The tour not only stood out as an artistic highlight but also symbolized solidarity with Ukraine during a challenging period. Raphaela Gromes, renowned for her versatile musicianship and social commitment, delivered performances of profound emotional depth. Her interpretations celebrated cultural unity, leaving audiences deeply moved and underscoring the enduring power of music to foster international collaboration.

 

Here are some press quotes:

“Raphaela Gromes has a wonderful cello tone and impressive technical mastery, and she fulfills her part in a very precise and differentiated way, with expression coming from within. She replaces external brilliance with inner sensitivity and dignity. This gives her sensitive and exquisite playing tension and strong expression.”

(Die Rheinpfalz, 15.11.2024, Karl Georg Berg)

 

“Raphaela Gromes' cello sings, laments and implores. The Adagio, with its intimate wind cantilenas, is like a prayer, which Gromes takes up with great sensuality and also in a chamber music-like tone.“

(tagesspiegel Berlin, 16.11.2024, Christiane Peltz)

 

”What a soloist! Dvořák's Cello Concerto in B minor is noticeably her world, full of temperament and feeling: whether she fills the Adagio with painful beauty, sets the tone in a combative way or masters the technical challenges with confidence. Here, too, in the packed Alfried - Krupp - Saal, one felt the special emotional tension that was not only released at the end in enthusiastic applause.”

(WAZ, 20.11.2024, Klaus Albrecht)

 

"It quickly became clear that she could always play in a different league than the NSOU and shine differently. She effortlessly pulled the entire orchestra along with her. Her sound is clear, slender and focused, emphatic, but not full-bodied or pompously dominant.”

(Hamburger Abendblatt, 20.11.2024, Joachim Mischke)

 

“Full of feeling and passion (...) The Ukrainian National Orchestra and the German cellist harmonized from the first note. Gromes presents her virtuoso skills with a pointed performance.”

(Liechtensteiner Vaterland, 23.11.2024, Mirjam Kaiser)

 

“Resounding applause and the greatest recognition for art under, and especially despite, the adverse circumstances and injustices of the world”

(Süddeutsche Zeitung, 25.11.2024, Rita Argauer)

 

“Raphaela Gromes succeeded in creating a purified, classic interpretation, free of sentimental pressure (...) The gain in chamber music poetry and singability was enormous.“

(Abendzeitung, 26.11.2024, Robert Braunmüller)

 

”Highly concentrated, but always with a smile on her face and in communicative exchange with Sirenko. (…) Gromes brings her intimate relationship with the piece to our ears with delightful slowdowns and tension-filled accelerandi, highly emotional but never sentimental. (…) Raphaela Gromes also animates the orchestra, which is audibly inspired by her sensitive verve."

(Münchner Merkur, 26.11.2024, Anna Schürmer)

 

“Her musical talent is particularly evident in the slow second theme, which she performs with deep concentration and sumptuous elegance – cleverly arranged and touching, a goosebump moment. (...) The orchestra and soloist harmonize at a high level of sound”

(Donaukurier, 27.11.2024, Jesko Schulze-Reimpell)

 

“Raphaela Gromes is one of the outstanding cellists of our time (...) Raphaela Gromes' intonation is exceptionally pure, her technique is highly present, and she gives the work both splendor and appropriate impact. She also plays outstandingly in terms of dynamics and rhythm (...) Carefully chosen tempi, a well-structured sound balance and flawless intonation reveal the beauty of this ingeniously performed music. Truly great art."

(Augsburger Allgemeine/Neuburger Rundschau, 28.11.24, Johannes Seifert)

 

“A musical flight of an eagle full of human warmth (...) Human closeness ran through the artistic perfection of the concert like a golden thread - so to speak in the vibrant, tremendously overtone-rich and warm sound of the Bergonzi cello (...) Raphaela Gromes played her Dvořák brilliantly like a princess and spookily like a goblin”

(Zuger Zeitung, November 30, 2024, Dorotea Bitterli)