Press

Massimo Zanetti shone as the brightest star of the evening. The maestro gave a driving reading that never turned into bluster. Zanetti shaped, pushed and pulled, all while weaving together the musical fabric of the score which comprises so many colorful sonorities. It was a vision of the piece that was surprising in its inventiveness, but seemed dramatically organic. The clarity he brought to the ensemble, both vocally and instrumentally, betrayed a musically assured mind, intimately familiar with the score. The piece sounded fresh all while remaining fundamentally Verdi. Both orchestra and chorus were at their best and exceptionally attentive and inspired.

- ConcertoNet

Filter:

AUDITORIUM MAGAZINE

Feature "The energy of Massimo Zanetti is shining. Especially when he’s talking about the Gyeonggi Phil     -  of whom he has been Music Director since September 2018-  his eyes light up." Park ChanmiAuditorium Magazine

THE STRAD KOREA MAGAZINE

Feature "The situation caused by Covid-19  has been inevitably prolongued , but at the same time my orchestra and I are trying to find a solution to normalize the Concerts Season." Jeong So-YeonThe Strad

Gyeonggi Philharmonic at the Orchestra Festival organized by the Seoul Arts Center

Critical Acclaim "Massimo Zanetti played it to the right degree, nothing excessive in his style, but he found the perfect balance and played it well." BommeNaver cultural blog

Reviews of the Gyeonggi Philharmonic Orchestra’s’ Anthology Series IV-Mozart & Beethoven’

Critical Acclaim "Even with a smaller ensemble, the sound of music filled the grand theater. Mozart's Piano Concerto No. 27 and Beethoven String Quartet No. 16 (orchestral version), which were completed by Mozart and Beethoven shortly before the end of their lives. The performance of pianist Lee Jin-sang was clear as if the notes had wings." Jeong Ja-yeonkyeonggi

Adding philosophy to the change

Feature "Last year, when the Gyeonggi Philharmonic Orchestra (GPO) welcomed Massimo Zanetti as its first foreign artistic director" Lee Mi-RaCOVER STORY/ AUDITORIUM magazine

Chosun Ilbo | Feature by Kim Kyeong-Eun

Feature "While working together with Gyeonggi Philharmonic Orchestra, I have learned that a postive attitude can change many things" Kim, Kyeong-EunChosun Ilbo

Don Giovanni at the Seoul Sejong Theater / Metropolitan Opera

Critical Acclaim "Italian Maestro Zanetti successfully led his GPhil with the high flexibility demanded by the operatic repertoire." Yongsook LeeYeonhap news

For who do we make music?

Feature "It’s a crucial question that I kept asking myself during my artistic wanderings from one end of the world to the other, for at least ten/eleven months a year." -The Essay

Concerts with Elsa Dreisig at the Seoul Arts Center

Critical Acclaim "Maestro Zanetti created huge dynamics with details in differentiated volume between instruments among all the sections." Sangkwon LeeThe Strings

Madama Butterfly in Sydney

Critical Acclaim "Conductor Massimo Zanetti and the Opera Australia Orchestra provided expansive support, particularly to Son, in sustaining and drawing out the work’s big dramatic moments." Peter McCallumSydney Morning Herald

31st MAY 2019, CONCERT at the Seoul Arts Center

Critical Acclaim "Maestro Zanetti’s conducting is always admirable." Tae-hyung RyuJoong-Ang Daily Newspaper, Guest Reporter Classic Odyssey, Music Coordinator / Daewon Cultural Foundation, Executive Manager / Auditorium, Editor-in-Chief & Reporter

ORCHESTRA FESTIVAL SEOUL/ Seoul Arts Center, 20th April 2019

Critical Acclaim "Massimo Zanetti deserves to be called the best conductor of this symphonic festival." Tae-hyung RyuSNS

New Year Concert at the GAC

Critical Acclaim "Zanetti’s own color was added to the most well-known repertoire for the 2019 GPhil New Year Concert." Godeun KwonFeb. Magazine

Concerts with Sonya Yoncheva and reviews for The Verdi Album

Critical Acclaim "Zanetti dirigiert mit Umsicht und feinzeichnend, pumpt aber trotzdem jede Menge Energie ins Orchester" Udo BadeltDer Tagespiegel

Gyeonggi Philharmonic Reviews

Critical Acclaim "He charmed the audiences by conducting the orchestra with elegant lines and free tempi, reaffirming his reputation as an opera conductor." -With In News

Carmen at Teatro Lirico di Cagliari

Critical Acclaim "La direzione dell’orchestra è stata affidata al maestro Massimo Zanetti, al suo debutto a Cagliari, che ha saputo far emozionare gli spettatori." Giampaolo SannaCronaca Online

Verdi’s La Traviata / Staatsoper Berlin

Critical Acclaim "Cette réussite, et cette finesse d’incarnation, on la doit aussi en très grande partie à l’excellence de la direction de Massimo Zanetti..." Laurent BuryForum Opera

Bizet’s Carmen / Teatro Lirico, Cagliari

Critical Acclaim "...la bacchetta di Massimo Zanetti riesce a riprodurre (specie nelle grandi scene di massa) in maniera nel complesso convincente le atmosfere infuocate e sanguinanti da cui l’opera è pervasa" Carlo Dore jr.Opera Click

Puccini’s Madama Butterfly / Macerata Opera Festival

Critical Acclaim "Massimo Zanetti in Madama Butterfly ottiene sonorità ben definite nei timbri e nei colori..." Enrico GirardiCorriere della Sera

Concert with Jessica Pratt

Critical Acclaim "As is often done in concerts, the sung pieces were alternated with a few overtures. Thanks to conductor Massimo Zanetti, these four orchestral works, often only intended to give a concert an acceptable duration, were real gems." H.D.Opera Gazet

Bellini’s Norma / Opéra Royal de Wallonie

Critical Acclaim "Un grand bravo enfin au chef, Massimo Zanetti, que le public liégeois avait pu admirer dans Luisa Miller, en 2014." Bruno PeetersCrescendo magazine

«Il Trovatore» fedele specchio dei travagli dell’animo

Feature "Ho una serie di reminiscenze legate alla musica che, sin da tenerissima età, rappresentava una costante nella vita quotidiana della nostra famiglia - Massimo Zanetti" Giulio Alessandro BocchiGazetta di Parma

Mozart Requiem / Moscow

Critical Acclaim "Zanetti enchantingly increased the choral sound: we were as if covered by a storm cloud, which dissipated during moments of musical hope and rejoicing, as in Sanctus or Benedictus." Maya KrylovaNew Journal

Puccini’s Tosca / San Diego Opera

Critical Acclaim "The orchestra, as conducted by the atomic Massimo Zanetti, was spectacular." Garrett HarrisSan Diego Reader

“Verdi nos acompaña en una nueva aproximación a la vida”

Feature "Este fin de semana se ha estrenado la 64 temporada de ópera de ABAO-OLBE con nada menos que Don Carlos de Verdi, una Gran Ópera francesa con todo lo que ello implica. Sin duda es un gran reto para todos los que la hacen posible y los nervios están a flor de piel. Sin embargo, Massimo Zanetti, el director musical, encuentra unos momentos para charlar educada, amable y distendidamente sobre Don Carlos con Klassikbidea." Nora Franco MadariagaKlassikbidea

Verdi’s Don Carlos / ABAO-OLBE

Critical Acclaim "En el foso se movió con autoridad y conocimiento Massimo Zanetti, un maestro de gesto elegante y amplio, que maneja una bien adiestrada mano izquierda..." Arturo ReverterBeckmesser

Verdi’s Un ballo in Maschera & Requiem / San Diego Opera

Critical Acclaim "Un ballo in Maschera and Verdi’s Requiem were both a highlight not just for the year but for San Diego Opera as a company. The combination of the principal cast along with Maestro Massimo Zanetti in both Ballo and the requiem was stellar." Garret HarrisSan Diego Reader

Rossini’s Il Barbiere di Siviglia / Teatro alla Scala

Critical Acclaim "Under Maestro Massimo Zanetti's baton, the Teatro alla Scala Academy Orchestra captured the absurdity and frenzy of Rossini’s two-act comedy that premiered in February 1816 in Rome." Courtney SmithBachtrack

Verdi’s I due foscari / Gran Teatre del Liceu

Critical Acclaim "Gran tasca la de Massimo Zanetti, expressiu i àgil en el marcatge melòdic..." Andreu Martínez MiretNúvol

Bizet’s Carmen / Teatro alla Scala

Critical Acclaim "Istituendo un filo con la regia della Dante dove ogni gesto svela un’idea e la sua forza teatrale primigenia imperversa in sincronia con la musica, liberando una bellezza radicale e arcana che può togliere ancora il fiato." Angelo FolettoLa Repubblica

Carmen non è un’operetta

Feature "Certamente Verdi e Puccini sono nel mio sangue, a loro sarò sempre fedele, anche perché il cammino della conoscenza dei loro rispettivi capolavori è infinito, non basta una vita per anche solo cominciare a coglierne appieno profondità ed intenti. Ma non appena mi sarà possibile, vorrei continuare ad approfondirei lo studio del repertorio tardo-romantico tedesco e francese." Giorgio GervasoniL'Opera

Puccini’s Madama Butterfly / ABAO-OLBE

Critical Acclaim "La sapiencia del maestro Zanetti reflejaba con claridad gestual la gravedad de la música que encerraba la partidura y entre largos silencios y acordes profundos..." Nino DenticiEl Correo

Anna Netrebko in Concert / Palau de la Musica

Critical Acclaim "Here we see Zanetti, always willing, thoughtful and expressive, with a natural connection to the spirit of Verdi scores, which he approaches with a considerate and wise mixture of tension and lyricism, of theatricality and more contemplative bel canto." Alejandro MartínezCodalario

Verdi’s Luisa Miller / Opéra Royal de Wallonie

Critical Acclaim "The orchestra followed Zanetti with fine, precisely cultivated pianos, rich, grounded tones in the strings and crashing brass interjections. Of course, Verdi's stereotypical accompanying formulas are not missing; but with Zanetti they sound elevated." Manfred LangerDer Opernfreund

Verdi’s Luisa Miller / Opéra Royal de Wallonie

Critical Acclaim "Maestro Massimo Zanetti and his baton are expert in Verdian repertoire." Michèle FricheLe Soir

Verdi’s Requiem / San Diego Opera

Critical Acclaim "As Massimo Zanetti (making his company debut) demonstrated, it all starts and ends with the conductor. And right from the orchestra’s first response to Zanetti’s downbeat, you had the feeling this was going to be special." James ChuteThe San Diego Union-Tribune

Staatskapelle Weimar

Critical Acclaim "Dass sich aber in dieser Musik, für flinke Füße erfunden, aufwändig gearbeitete Charakterstücke von sinfonischem Gewicht verbergen, diese Einsicht vermittelte uns erst Massimo Zanetti am Pult der Staatskapelle Weimar im 4. Sinfoniekonzert." Hans-Jürgen ThiersTueringische Landeszeitung

5 questions à Massimo Zanetti

Feature "Je suis surtout connu pour l’opéra italien : Bellini, Verdi, Puccini… Il est plus rare que l’on me demande pour autre chose." Roberto RicciForum Opéra