by AdminTyBarts | Jun 3, 2026 | News
In a deeply personal interview with Austria’s prestigious newspaper Die Presse, pianist Boris Giltburg reflects on his Russian roots and Israeli upbringing, describing himself as “privileged” to belong to both cultures and languages.
Elsewhere in the interview, Giltburg offers a revealing insight into his artistic attitude, explaining that true freedom in performance comes only through rigorous work: “In order to feel free on stage, I need to be perfectly prepared.” He also speaks movingly about his enduring love for live performance itself, adding: “I have always loved performing on stage — to this day, it remains the most beautiful thing for me.”
Giltburg also reflects on the evolution of his artistry, describing how his musical development became increasingly self-directed and analytical after the end of his studies with renowned pianist and pedagogue Arie Vardi. A decisive turning point, he explains, was the habit of recording and critically listening back to his own performances — a practice that allowed him to assess his playing with greater objectivity and ultimately develop a fully independent artistic voice. This process of self-evaluation remains as an essential part of his daily musical workflow.
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Boris Giltburg in sehr persönlichem Interview mit Österreichs Die Presse
In einem sehr persönlichen Interview mit der renommierten österreichischen Tageszeitung Die Presse spricht der Pianist Boris Giltburg über seine russischen Wurzeln und seine Kindheit in Israel. Dabei beschreibt er es als ein „Privileg“, Zugang zu beiden Kulturen und Sprachen zu haben: „Ich habe das Privileg, Zugang zu beiden Kulturen und Sprachen zu haben. Ich bin stolz auf mein russisches Erbe.“
An anderer Stelle des Gesprächs gibt Giltburg einen aufschlussreichen Einblick in seine künstlerische Haltung und erklärt, dass wahre Freiheit auf der Bühne nur durch intensive Vorbereitung entstehen könne: „Um mich auf der Bühne frei fühlen zu können, muss ich perfekt vorbereitet sein.“ Zugleich spricht er bewegend über seine bis heute ungebrochene Liebe zum Konzertleben: „Ich habe es immer geliebt, auf der Bühne zu spielen – das ist bis heute das Schönste für mich.“
Darüber hinaus reflektiert Giltburg über die Entwicklung seiner künstlerischen Persönlichkeit und beschreibt, wie sein musikalischer Zugang nach dem Ende seines Studiums bei dem renommierten Pianisten und Pädagogen Arie Vardi zunehmend eigenständiger und analytischer wurde. Einen entscheidenden Wendepunkt markierte dabei, wie er erklärt, das regelmäßige Aufnehmen und kritische Anhören seines eigenen Spiels — eine Arbeitsweise, die es ihm ermöglichte, sich selbst objektiver zu beurteilen und schließlich eine vollkommen eigene künstlerische Stimme zu entwickeln. Dieser Prozess der Selbstreflexion gehört bis heute zu seinem täglichen musikalischen Workflow.
by AdminTyBarts | May 22, 2026 | News
Richard Strauss’ Eine Alpensinfonie (An Alpine Symphony) is widely regarded as one of the crowning achievements of late-Romantic orchestral writing and among the most ambitious tone poems ever composed. Premiered in 1915, the work requires an enormous orchestra and extraordinary technical precision to realise its immense sonic landscape. Developing in a single uninterrupted musical arc lasting nearly fifty minutes, the work’s demanding scale makes a successful performance a major achievement for both the Orquesta Sinfónica de Chile and its conductor, Luis Toro Araya.
The monumental symphony drew equally impressive critical acclaim: “The young conductor led it from memory with staggering assurance, immersing both orchestra and audience with pinpoint precision in every exploratory Straussian step of the ascent into the Alps. … A truly mega conductor!” (Círculo críticos de arte).
Toro Araya shares a particularly strong relationship with the ensemble and an intimate understanding of its artistic identity, having performed as a violinist within its ranks ten years ago. Now returning at the helm, he emerges as a commanding musical presence, leading the orchestra with striking authority:
“Winner of multiple major international competitions, Toro Araya consistently demonstrates an overflowing talent and has established himself as one of the most outstanding young conductors of today. . . . His interpretation illuminates the work’s inner essence through a transparent sonority (with remarkable command of orchestral textures), a finely judged sense of rubato, intelligent choice of tempi, and a strikingly clear architectural shaping of the sonic planes” (El Mercurio).
by Francisca Folch | May 7, 2026 | News
In a major feature interview with Germany’s Frankfurter Allgemeine Zeitung (FAZ), pianist Boris Giltburg speaks in depth about the music of his beloved Sergei Rachmaninov, whose complete piano works he is currently recording for Naxos. Reflecting on the composer’s unique sound world, Giltburg describes Rachmaninov’s writing as both orchestral and deeply pianistic, explaining that imagining orchestral colours at the keyboard “clarifies the entire approach to interpretation” and creates “an organic result.”
Giltburg also praises the structural precision behind Rachmaninov’s music, observing that “behind the richness of emotion … there is always a sharp intellect”. He describes the composer as an artist who “knew exactly what he was doing and planned his pieces like an architect”. Speaking personally about the profound importance of this repertoire in his own life, Giltburg adds: “Personally, I could not live without Rachmaninov. I always need a dose of Rachmaninov.”
The interview also dwells on Giltburg’s passion for literature and translation. Alongside his international concert career, he is currently translating Hebrew poetry and prose into English, including sonnets by the celebrated Israeli poet Lea Goldberg and a short story by Nobel Prize-winning author Shmuel Yosef Agnon. Discussing the challenges of translation, the pianist reflects on the deep poetic and prosodic connections between Hebrew and German, and describes his fascination with recreating not only meaning, but also rhythm, colour, and musicality across languages.
by AdminTyBarts | Apr 21, 2026 | News
The Opéra de Paris has just announced the return of conductor François López-Ferrer, who will lead Il Barbiere di Siviglia by Gioachino Rossini at the Opéra Bastille next season, from 12 September to 5 November 2026.
Winner of the prestigious Sir Georg Solti Conducting Award in 2024, the Spanish-American conductor is rapidly establishing himself as one of the most compelling figures on today’s international scene. This new engagement marks his second collaboration with the Opéra de Paris.
Before taking on this production, he will round off the current season with his debut at Teatro Real in Madrid, where he will conduct Il Trovatore.
With a strong background in symphonic repertoire, López-Ferrer has worked with leading international ensembles, including the Chicago Symphony Orchestra, the Los Angeles Philharmonic at the Hollywood Bowl, the Hong Kong Philharmonic Orchestra, the Orquesta Sinfónica de Radio Televisión Española, the George Enescu Philharmonic, and the Verbier Festival Orchestra.
Learn more about López-Ferrer’s work at the Opéra national de Paris.
by AdminTyBarts | Feb 5, 2026 | News
Conductor François López-Ferrer has received glowing critical acclaim following his recent appearance with Symphony San Jose at the California Theatre, in a program featuring works by Schubert, Sibelius, and Schumann alongside violinist Geneva Lewis.
Writing for San Francisco Classical Voice, Joseph Sarmenta described an evening “defined by an impressive clarity — of sound, intention, and interpretive vision,” highlighting López-Ferrer’s leadership throughout the program.
Sarmenta especially praised López-Ferrer’s partnership with the soloist, noting that the conductor “exercised tight and impressive control of dynamics and pacing to let the soloist’s brilliance shine without disrupting the orchestral strings.” The review also singled out Schumann’s Symphony No. 4 in D minor, where López-Ferrer “captured the piece’s flowing arc while attending to its dynamic details, which came out wonderfully in the strings, brass, and percussion.”
The performance was described as “a testament to López-Ferrer’s attentiveness as a conductor,” with the critic observing how he moved “briskly across the sections of the orchestra to ensure that practically every note from every musician played its role in the design.”
The concert formed part of Symphony San Jose’s program Hopelessly Romantic, and marks another critical success for López-Ferrer on the U.S. symphonic stage.
Read the whole review here.
by AdminTyBarts | Jan 30, 2026 | News
We are delighted to welcome Spanish-American conductor François López-Ferrer to TYB Arts for European representation.
Recipient of the prestigious 2024 Sir Georg Solti Conducting Award and a 2021–22 Dudamel Fellow with the LA Phil, López-Ferrer has quickly established himself as one of the most compelling conductors of his generation.
Highlights of the coming season include debuts at Teatro Real in Verdi’s Il Trovatore, the Symphonieorchester der Volksoper Wien, and the Orquesta Sinfónica de Bilbao, alongside returns to orchestras including the Basque National Orchestra and Rochester Philharmonic.
He has appeared with leading orchestras and institutions worldwide such as the Chicago Symphony Orchestra, Los Angeles Philharmonic, Hong Kong Philharmonic, Houston Symphony, Orquesta Nacional de España, Ensemble Intercontemporain, and Opéra National de Paris.
Formerly Associate Conductor of the Cincinnati Symphony Orchestra and Resident Conductor of the Opéra de Paris Académie, López-Ferrer is equally at home in symphonic and operatic repertoire. Bachtrack praised his “richly expressive sound, always rendered with clarity and precision,” while Beckmesser described him as “clear, precise, elegant, and authoritative.”
Click here to find out more.
