THE LANDING AT DARMSTADT

20.03.2021 / SCHERZO, Tomás Marco                                     

“…The concert showed the great capacity of the soloists of Orquesta Nacional de España, who were brilliant and dedicated. Nacho de Paz conducted: who is undoubtedly one of the best musicians of his generation and who has recently returned to his beginnings as composer, winning an important prize for pieces for violin, but who is known above all for his highly versatile and profound conducting activity. A deep connoisseur of modern music, De Paz offered exact and flexible versions of the works of Hidalgo and De Pablo, later offering his personal vision, well studied and planned, of the work of Bartók, which he made shine in all its greatness. “

 

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ESFUERZOS TITÁNICOS, MERECIDAS RECOMPENSAS

06.10.2018 / CODALARIO, Mario Guada                                     

“… Huppertz’s work [Metropolis] is a tour de force for the orchestra – it really is; Not many compositions in the usual repertoire of an orchestra of this type are so physically demanding – that there are barely four silences of a few seconds in the entire footage, so a break was necessary after the first ninety minutes of the film in order to face the remaining fifty-five with the same level. It can be said that the members of the National Orchestra of Spain absolutely gave themselves all on stage… ”

 

“… Of course, none of this could have been possible without a clairvoyant mind in these matters like that of Nacho de Paz, absolutely dedicated  and passionate about this type of interdisciplinary spectacle. I have already pointed out this before, but de Paz should be seen as one of the great Spanish directors of today in the field of contemporary music –although this is far from the compositional terrain in which he usually moves with premiere works–. His gesture is totally clarifying –something not so common in the world of orchestral conducting–, his commitment is absolutely inspiring and his musical conception is masterfully conceived. The neatness of his work could be glimpsed from the most obvious (the exactness, often perfect, of the music-image synchronization) to more intricate (balance between the orchestral parts, thematic treatment, structural conception of the composition, contribution to the expressive and dramatic aspects of the score). In short, a musical luxury that greatly helped the superlative enjoyment of a global show like few can be seen today in this fusion of film and music.”

 

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EUPHONIC DYSTOPIA

06.10.2018 / SCHERZO, David Rodríguez Cerdán                                     

“… Imagine what an exciting and terrible challenge for Nacho de Paz: millimeter precision when attacking the entrances, extreme ductility when leading the orchestra through wall-to-wall polymorphic music. And it is that from a passage with portamento we go in two measures to a mechanical ballet; from a seraphic choral in major mode to a strenuous agitato or to the syncopated debauchery of the saxophones. The National Orchestra gave everything and more and it sounded like heaven — not even the RundfunkSinfonieorchester in Berlin in the hands of Strobel, that’s nothing. De Paz guided us through the bowels of Metropolis as if he were its architect, moving in the light of the click-track like a sorcerer or a bacchante, practicing magic, making us forget that the city came to life and was extinguished under his command during those beautiful moments. The clamor was inevitable. What an orchestra. What a show. And what a huge conductor. “

 

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VAMPIRIC RESURRECTIONS

28.10.2017 / CODALARIO, Mario Guada                                     

“… The performance of the National Orchestra of Spain, as well as the selection of female voices from the National Choir of Spain –conducted by Miguel Ángel García– was absolutely fascinating. The adaptation to orchestral writing, certainly complex on a rhythmic level, as well as the sometimes extreme use of instruments, is sometimes difficult for instrumentalists perhaps not so used to this type of language. However, the result could rarely be more satisfactory than it was … “

 

“Undoubtedly, having a figure like Nacho de Paz at the head of this complex project helps, and a lot, to bring it to fruition. Only someone with such deep analytical knowledge and so passionate about contemporary music can extract, so brilliantly, the essences of a complex score in a lively way far beyond from the notated pentagrams. The conductor, composer, pianist and musicologist from Oviedo is a paragon of scenic intelligence, and his gesture –halfway between pragmatism and plasticity– is absolutely concise, effective and expressive. Attentive to the smallest detail, he keeps his gaze on the orchestra, giving a good example of the deep knowledge he has about this score that he has already performed before. Master of talent and generosity – he seems to derive the applause towards the rest of those on stage, an exercise in honesty strange among those who treasure the podiums today –, I cannot think of another Spanish artist of such authority in a task of this gauge. Of course, the result is the fruit of his extremely meticulous work in carving the filigree that a conjunction like this deserves. “

 

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NOSFERATU: PARALLEL ATTAVISMS

12.04.2017 / KLASSIKBIDEA & MUNDOCLÁSICO, Joseba Lopezortega                                     

“… Nosferatu, the vampire and Sánchez-Verdú’s Nosferatu respect each other and constitute a common work that respects the audience, and that at the same time requires a certain maturity, a certain degree of audiovisual literacy. The articulation of the composition with the film implies a proud and solid claim to its artistic autonomy, it claims a status of primus inter pares by which it is not at the service of the film, but rather offers itself alongside it in a common artistic endeavor. Nacho de Paz‘s work to convey the consistency and quality of this musical postulate was excellent, and the Bilbao Symphony seemed to enjoy the challenge, with a great performance. “

 

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CD EXCEPTIONAL (ORQUESTA NACIONAL DE ESPAÑA)

09.2015 / SCHERZO, Arturo Reverter                                       

“…The National Orchestra of Spain sounds superb under the flexible command, clear and precise conducting of Nacho de Paz, always a warranty of deepness of study and analysis of contemporary repertoire…”.

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NACHO DE PAZ OPENS ALICANTE’S FESTIVAL AND INAUGARATES THE AUDITORIUM

18.09.2011 / BECKMESSER, José Luis Pérez de Arteaga                                      

“…the National Orchestra of Spain, led by the Spaniard Nacho de Paz (Oviedo, 1974), an enthusiastic musician, vital, hard worker, who at 37 years old glimpses an important career in Spain and abroad.”

 

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TRIUMPH OF ORQUESTA NACIONAL DE ESPAÑA IN ALICANTE

20.09.2011 / DIVERDI, David R. Cerdán                                      

“Nacho de Paz, acclaimed with the National Orchestra of Spain in Alicante’s Music Festival last weekend.”

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NEW MUSIC, NEW HOPES

18.09.2015 / INFORMACIÓN, Federico Solano

“… The National Orchestra of Spain offered a magnificent inaugural concert, intelligently programmed and superbly executed. […] we must talk about intensity, emotion, self-control, precision and refinement of the hand of a conductor and an orchestra that, since some years ago, is taking the path that will lead it towards the great European orchestras.”

 

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APOCALIPSIS, JESÚS TORRES

04.05.2011 / SONOGRAMACarme Miró

“…Nacho de Paz, conductor and excellent leader of music ensembles of high level, shines from his intellect and his gesture. He sets in order the sound ideas, organizes the sound layers along the whole sound-space and guides with supreme agility the sound-net towards unity, emotion and intelligence.
The audience, literally surrounded by instrumentalists, got immersed in the magnetism of the Asturian conductor who, through his craft, of enormous maturity, is giving guidelines of sound sharpness and emotional essence. In fact, Nacho de Paz has a technique that allows to deepen into, express, feel and listen to any music he conducts. His proposal of interactivity not only holds the players (who follow him with passion) but he also creates an emotional co-participation of the audience.
With no doubts, an intelligent conductor, of shining pragmatism and gifted with the passion for sound and beauty

 

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ESTRENO HISTÓRICO

15.12.2010 / EL CORREOKarmelo Errekatxo

“La Orquesta de Bilbao, estupendamente conducida por el joven director asturiano Nacho de Paz, colaboró acertadamente para que el estreno absoluto de ‘Recado’ [de Luis de Pablo] figure entre las ocasiones sobresalientes de la existencia del imponente órgano del Euskalduna, que es ya historia en la vida cultural bilbaína.”

 

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LECCIÓN MAGISTRAL

03.2010 / SCHERZOJosé Antonio Cantón

“Su concierto, bajo la dirección de Nacho de Paz ha significado un verdadero acontecimiento artístico, empezando por la meditada elección de la obras – “Monumentum pro Gesualdo di Venosa ad CD annum” (Stravinsky), “Palacios de Al-Hambra” (Marco), “Empreintes” (Xenakis) y “In-Schrift” (Rihm)- siguiendo por la excelencia en la interpretación de la orquesta y solistas, los pianistas Víctor y Luis del Valle, y terminando por la lección magistral que supuso la dirección del joven músico asturiano.”

 

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J.A.S.P.

12.2009 / SCHERZODavid Drodriguez Cerdán

“…la ORCAM y su joven – pero sobradamente preparado- director, Nacho de Paz, quien se tomó la molestia de explicar al auditorio el concepto modular de De Pablo para hacer más inteligibles sus intrincados —y muy boulezianos— estudios y de volver sobre aquélla para evidenciar el carácter “abierto” de esta escritura deconstructiva. […] y la Construcción III de Cage, en una versión que superó a todas las referencias discográficas existentes.”

 

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LAS RAÍCES DE LA VANGUARDIA

12.10.2008 / EL MUNDOTomás Marco

“Jornada histórica en el Auditorio con un maratón de tres conciertos dedicados a Karlheinz Stockhausen en sus obras de la primera etapa, las que hace más de medio siglo definieron la vanguardia serial y electrónica. Se empezó con “Kreuzspiel” (Juego en cruz), una obra magistral de la que arranca el serialismo integral. Nacho de Paz hizo una magnífica charla sobre la obra y luego la dirigió con absoluta perfección, dando dos versiones, antes y después de la charla, impecables.
[…] En “Gruppen” (para tres grupos orquestales), actuaba la Orquesta Nacional, con una interpretación memorable, destacando su alto nivel profesional y artístico. Fue dirigida por una triada de grandes directores españoles: Arturo Tamayo, José Ramón Encinar y Nacho de Paz, excelentes músicos que sabían muy bien con qué se las habían, lo que tenían que hacer con ello y cómo hacerlo. La versión fue extraordinaria; mereció la pena la larga espera para oír en España esta obra, que ya está plenamente inserta en la Historia.”

 

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“EL PRÍNCIPE DE MADERA” DE BÉLA BARTÓK

17.10.200) / MÁLAGA HOYFernando Anaya

“…en disposición de efectivos orquestales fuera de lo común (violines enfrentados, cuerda baja central, y contrabajos en la izquierda), se presentó la joven batuta del maestro De Paz. De gesto elegante, conciso y sutil, en combinación con lo enérgico y determinante, se mostró con entero equilibrio entre su propia y rica expresividad y los rigores académicos. Su fluidez en el discurso general del programa y varios elementos clave, derterminaron un notable éxito de los maestros de la Orquesta Filarmónica de Málaga (OFM), en permanente comunicación con sus indicaciones. Esta brillante respuesta se ofreció claramente en “El príncipe de madera”, op. 13 (Gran suite) de Bartók, donde hubo momentos de contenido y belleza.”

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MUSIKALISCHER PERFEKTION

24.01.2007 / ECHO ONLINE, Claudia Schülke

Geschäft als Verbrechen Musiktheater: Frankfurter Schauspiel zeigt “Die Dreigroschenoper” von Brecht und Weill. “… Es ist ein kompakter, wunderbarer Abend im Großen Haus: zwei pausenlose Stunden von theatraler Dichte und musikalischer Perfektion. […] Unter der musikalischen Leitung von Nacho de Paz bewähren sich wieder einmal das Ensemble Modern und Musiker der Internationalen Ensemble Modern Akademie.”

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DIE DREIGROSCHENOPER: “CAUTIVADORA Y SORPRENDENTE”

23.01.2007 / FRANKFURTER RUNDSCHAU, Hans Jürgen-Linke

“Conducting Ensemble Modern from the pit, Nacho de Paz produced a sound canvas in which the secondary voices and the richness of the details of Weill’s music were always heard with clarity and in counterpoint with a captivating and astonishing melodic line.”

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EIN PRACHTVOLLER ABEND

01.2007 / WIESBADENER TAGBLATT, J. Frederiksen

Das Schauspiel Frankfurt stellt eine glänzende “Dreigroschenoper” auf die Bühne seines Großen Hauses. “… Hilfreich zur Seite steht […] das Zwölf-Mann-Orchester vom Ensemble Modern, das die Weill’schen Evergreens mit schöner Leichtigkeit, zeitweise auch mit enormem Tempo herausschnipst. Ein prachtvoller Abend, der den Schwung, den er nach ein paar Minuten aufnimmt, bis zu Schluss beibehält und pflegt.”

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UNE INTERPRÉTATION IDÉALE ET TOTALEMENT MAÎTRISÉE

18.11.2006 / RESMUSICA, Michèle Tosi

“… “Barcelona 216” [de Joan Guinjoan] pour ensemble instrumental, […] bénéficie aujourd’hui d’une interprétation idéale et totalement maîtrisée, rendant compte de la complexité des combinaisons sonores dans un foisonnement multicolore.
Saluons l’investissement et la pertinence de la direction de Nacho de Paz, tout jeune chef récemment nommé assistant de l’Ensemble Modern de Francfort, obtenant de ses interprètes précision du geste et fluidité du discours musical.”

 

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“PROMETEO” DE LUIGI NONO: UNA EXPERIENCIA INOLVIDABLE

31.05.2003 / LA VANGUARDIA, Jorge de Persia

“… [“Prometeo” de Luigi Nono] es una construcción compleja en la que participan varios grupos orquestales, coro y solistas vocales e instrumentales, además de un importante trabajo de electrónica –hay en acción veintidós generadores de sonido–, donde se requieren dos directores para coordinarlo todo –en este caso el buen trabajo del maestro Arturo Tamayo y de Nacho de Paz como segundo director–.
El resultado de la representación de esta “acción escénica” –que pretende un nuevo lenguaje para la ópera en el que prevalece el sonido–, en el magnífico patio de claustros de la Universidad de Valencia, fue excelente.
Escuchar “Prometeo”, una obra plena de ideas que convoca a la reflexión, al goce estético, a las sensaciones, es una experiencia inolvidable de la que pronto se podrá gozar también en Madrid, pero no, lamentablemente, en Barcelona.”

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