Weigold&Böhm


  • Lisa Batiashvili

    Lisa Batiashvili
  • Denys Proshayev

    Denys Proshayev
  • David Garrett

    David Garrett
  • Concerto Köln

    Concerto Köln
  • Nicola Benedetti

    Nicola Benedetti
  • Venice Baroque Orchestra

    Venice Baroque Orchestra
  • Jos van Immerseel

    Jos van Immerseel
  • Philippe Jaroussky

    Philippe Jaroussky
  • Giuliano Carmignola

    Giuliano Carmignola
  • Miguel Harth-Bedoya

    Miguel Harth-Bedoya
  • Anima Eterna Brügge

    Anima Eterna Brügge
  • Chouchane Siranossian

    Chouchane Siranossian
  • Tal & Groethuysen

    Tal & Groethuysen
  • Alexandre Tharaud

    Alexandre Tharaud
  • Andrea Marcon

    Andrea Marcon
  • Rundfunk-Sinfonieorchester Berlin

    Rundfunk-Sinfonieorchester Berlin
  • Raphaela Gromes

  • Jean-Yves Thibaudet

    Jean-Yves Thibaudet
  • Javier Perianes

    Javier Perianes
  • Jean Rondeau

    Jean Rondeau
  • Russische Nationalphilharmonie

    Russische Nationalphilharmonie
  • Shao-Chia Lü

    Shao-Chia Lü
  • La Cetra Basel

    La Cetra Basel
  • Orfeo 55

    Orfeo 55
  • Katia & Marielle Labèque

    Katia & Marielle Labèque
  • Regensburger Domspatzen

    Regensburger Domspatzen
  • Ensemble Artaserse

    Ensemble Artaserse

"Pleasant Yearning" - David Garrett in concert with Vienna Symphony Orchestra

©Tobias Weigold

Yet on the first of three concert nights (May, 3rd Vienna / 4th Munich / 5th Salisburg) David Garrett inspired the audience in Vienna with the Concerto for Violin and Orchestra of Johannes Brahms. He was accompanied by the Vienna Symphony Orchestra under Lahav Shani. Press reviews honour the artist's performance.

Read an excerpt of the Wiener Zeitung:
"Purists may spot viral pop elements in Garrett's playing: yet his slightly jazzy timing is just that which allows the melodies to sing eloquently, bestowing them with colours along their way to the heights of fervor - whereby Garrett's yen for sappy glissandi is kept to a minimum here, even in the hearty finale."  (irr, May, 4th 2015)

The Münchner Merkur wrote:
"Garrett was more in his element during the cadenza, outlining his preference for Kreisler's more richly-ornamented version in the program notes and convincingly following up his words with nimble fingers. The tad overly-sentimental Adagio was followed up by his plunge into the exhilarating finale executed with technical poise. Received with no less enthusiasm and chosen for the sake of consistency, the encore, Kreisler's 'Caprice viennoise', provided a coherent finish with a tasteful mixture of Viennese congeniality and tavern-like charm." (Tobias Hell, May, 6th 2015)

And an excerpt of the Abendzeitung:
"When he finally begins with this wonderfully-detached, free variation of the melody, Garrett doesn't even attempt to outdo the belcanto of the oboe. In fact, he fits in to his surroundings humbly and yet with undeniable charisma. What makes his interpretation so enjoyable is that Garrett never attempts to take the reigns. In all three movements of this concerto, he plays with much legato, places sound in the forefront and plays even the ornamentation with emphatic attention.” (Michael Bastian Weiß, May, 6th 2015)