“Ulti­mate­ly, the orches­tra, choir and soloists under Andre­as Hotz unleash the uto­pian power on their way to the ide­al world and the ent­ry into the Beet­ho­ven cycle. For this, the orches­tra is enthu­si­asti­cal­ly cele­bra­ted by the audience.”

Neue Osna­brü­cker Zeitung 

 

“The audi­ence chee­red enthu­si­asti­cal­ly. It […] expe­ri­en­ced a top-class evening of musi­cal extra class. […] The Neue Phil­har­mo­nie West­fa­len tri­um­phed under the ener­ge­tic direc­tion of Andre­as Hotz. […] beau­ti­ful sound, in bright colors, trans­pa­rent lyri­cal in the second movement.”

WAZ

 

A bril­li­ant Beet­ho­ven beco­mes the gem of the evening. Here Andre­as Hotz shows how cle­ver­ly he knows how to design. He char­ges the first sym­pho­ny with firm dyna­mics in cha­sed, free­ly swin­ging phra­ses. — A cele­bra­ted ent­ry for the Phil­har­mo­nic into the Beet­ho­ven year.

Reck­ling­häu­ser Zeitung 

 

“Applau­se for reco­gni­ti­on at the end of minu­tes! The Neue Phil­har­mo­nie also deser­ves it under its impres­si­ve guest con­duc­tor Andre­as Hotz, who not only reso­lute­ly keeps the first two anar­chic pie­ces in order, but Beethoven’s No. 1 sym­pho­ny gives an unmistaka­ble cha­rac­ter. Tem­pe­ra­men­tal, fresh and ener­ge­tic, with tre­men­dous exci­te­ment, he pres­ents an orches­tra and a con­cert in a class this evening.”

Hell­we­ger Anzeiger 

 

“He also arran­ges the sound com­pon­ents per­fect­ly; he allows a sono­rous sound, but at the same time pays atten­ti­on to uncon­di­tio­nal trans­pa­ren­cy. […] The orches­tra pres­ents its­elf to its audi­ence and abo­ve all to itself.”

Neue Osna­brü­cker Zeitung 

 

“Fre­ne­tic applau­se and shouts of prai­se. […] The Neue Phil­har­mo­nie West­fa­len is also high­ly dif­fe­ren­tia­ted and reli­es on the natu­ral breath of the work. […] A rich palet­te of sounds deter­mi­nes the orches­tral sound as well as spar­k­ling fresh­ness that is crea­ted by the four move­ments the sym­pho­ny is blowing. […] an experience.”

Hil­des­hei­mer All­ge­mei­ne Zeitung 

 

“And in the end the audi­ence stands and gives enthu­si­astic applau­se. Who would have thought that with con­tem­pora­ry music.”

Neue Osna­brü­cker Zeitung 

 

“And Andre­as Hotz […] stands like a rock in the foa­ming surf. […] Hotz sen­ses the extre­me sound­s­capes of this expan­si­ve score very pre­cise­ly, pre­cise­ly swit­ches bet­ween chao­tic power­house and sub­t­le gent­leness. Great!”

West­fä­li­sche Nachrichten 

 

“… you have to high­light the con­duc­tor Andre­as Hotz, who, with gran­dio­se dedi­ca­ti­on, with sure gui­d­ance, with clear ges­tu­res of all kinds, even with true sum­mo­ning, lit a pure fire­work dis­play that his orches­tra ine­vi­ta­b­ly car­ri­ed away. […] Hotz suc­cee­ded the abso­lu­te mas­ter­pie­ce, an ever-urgent, spar­k­ling […] hap­pe­ning, a con­stant new buil­ding of high­lights. The orches­tra, to the utmost, bril­li­ant­ly imple­men­ted the inst­ruc­tions of its con­duc­tor After this event, the fol­lowing tri­um­phant applau­se from enthu­si­astic audi­en­ces went out — com­ple­te­ly fulfilled …”

Dewe­zet

 

“This was par­ti­cu­lar­ly the case for Beethoven’s 1st Sym­pho­ny, which the Neue Phil­har­mo­nie West­fa­len mas­te­red at the requi­red tem­po, but with the equal­ly requi­red emo­ti­ons under guest con­duc­tor Andre­as Hotz in the best quality. […]
… well inter­pre­ted, almost arou­sed enthu­si­asm among the audience.”

Kamen-web.de

 

“Music Direc­tor Andre­as Hotz had cho­sen “A heroic life” by Richard Strauss — a work that he con­duc­ted with Ver­ve. Hotz explo­i­ted the poten­ti­al of this sym­pho­nic poem almost bril­li­ant­ly. But he was not only able to play out his class as a con­duc­tor. […] With its exact­ness and sophisti­ca­ti­on, the fan­tastic orches­tra was so enthu­si­astic in the sym­pho­ny con­cert that the­re was also loud applau­se at the end.”

Kul­tur­fe­der

 

“Andre­as Hotz pres­ents gre­at art by an expe­ri­en­ced con­duc­tor. Clo­se to the soloist, clo­se to the ensem­ble, repeated­ly deman­ding volu­me in power­ful and humi­li­ty in deli­ca­te pas­sa­ges from his musi­ci­ans. His see­min­gly immer­sed ges­tu­ral calm breaks the next moment into a furious jux­ta­po­si­ti­on of rhyth­mic , always aes­the­tic move­ments in the pre­cise­ly per­forming orchestra.”

Neue Osna­brü­cker Zeitung 

 

“[Andre­as Hotz] obvious­ly enjoys savo­ring the late-roman­tic sound into­xi­ca­ti­on that this sound appa­ra­tus with its around 50 strings, four, five, eight-part wind instru­ments and lavish drums can unfold […] And the string sound blossoms magi­cal­ly again and again [… ] This con­cert was a thril­ling experience… ”

Neue Osna­brü­cker Zeitung 

 

“The soloists […] and final­ly the Osnabrück Sym­pho­ny Orches­tra under Andre­as Hotz com­ple­men­ted each other per­fect­ly […] Cri­tics and the audi­ence chee­red unanimously […]”

Neue Osna­brü­cker Zeitung 

 

“It is qui­te a pro­per pie­ce of music that the musi­ci­ans are mas­te­ring here. The next moment the instru­ments chirp like an Ita­li­an bel can­to nightin­ga­le. It is a real plea­su­re to lis­ten and watch here.”

Kul­tur­ma­ga­zin O‑Ton

 

“The orches­tra, under the empha­tic direc­tion of its young Music Direc­tor Andre­as Hotz, is the­re­fo­re in full swing — it is about some­thing, it is signal­ed. […] Andre­as Hotz and direc­tor Dirk Schme­ding bring the for­got­ten finals to the Osnabrück thea­ter. de siè­cle ope­ra “Guer­co­eur” by Albé­ric Magnard a triumph.”

Klassikinfo.de

 

“A sen­sa­tio­nal suc­cess”. “Exem­pla­ry quality.”
“Here in par­ti­cu­lar the Osnabrück Sym­pho­ny Orches­tra ran riot. Under the baton of artis­tic direc­tor Andre­as Hotz, they car­ri­ed off the who­le evening at a brisk pace and with gre­at zest.”
“Go, go, go! (…) ’Guer­cœur’ is beau­ti­ful, pro­found, cra­zy, moving, ori­gi­nal and addic­ti­ve.” “…(This) phe­no­me­nal redis­co­very is the most signi­fi­cant of recent years…”

Welt

 

“Won­der­ful­ly fra­grant” (…) “Even in the most sump­tuous for­tes, the orches­tra cul­ti­va­ted a refi­ned, cham­ber music spirit.”

Welt

 

“Impres­si­ve stu­dio pro­duc­tion” (…) “Impel­ling dra­ma” (…) “A real discovery.”

Opern­welt

 

“The first record­ing of the ope­ra [‘Song of the Night’] has it all. […] The young con­duc­tor Andre­as Hotz wakes up Gál’s music in all its ori­gi­nal colors to thea­tri­cal life.”

Frank­furt All­ge­mei­ne Zeitung 

 

“It was clear­ly audi­ble that con­duc­tor Andre­as Hotz had initia­ted the orches­tra into the French sound, with its mut­ed, then fre­quent­ly iso­la­ted instru­men­tal solo colours, and its solemn, celesti­al sounds, lustrous­ly upheld by the choir.”

Opern­welt

 

“What a discovery!”

Kul­tur­fe­der

 

“…thanks to the vivid musi­cal pre­sen­ta­ti­on under Andre­as Hotz, and the com­pel­ling sta­ging of Dirk Schme­ding. A huge success.”

Opern­welt

 
“Yet the finest achie­ve­ment of the pro­duc­tion lay in the magni­ficent direc­tion of Andre­as Hotz, who knew how best to show­ca­se the sple­ndid orches­tra­ti­on, the dra­ma, and the lyri­cism of this very sym­pho­nic ope­ra. The den­se sono­ri­ty of the orches­tra was asto­nis­hing, as were its round­ness and tone colours. One was ama­zed to dis­co­ver the scope of the score, and to be immer­sed in beau­ti­ful and well-balan­ced sounds…”

Alta­mu­si­ca

 

“An over­due dis­co­very.” (…) “The orches­tra fol­lo­wed the sen­si­ti­ve con­duc­ting of Andre­as Hotz through the many facets of the score, from celesti­al sounds of the sphe­res to a broad palet­te of earth­ly sentiments.”

Reck­ling­häu­ser Zeitung 

 

“A very spe­cial dis­co­very.” (…) “This evening was right on track. Artis­tic direc­tor Andre­as Hotz hau­led his late Roman­tic dra­ma out of the orches­tra pit so power­ful­ly that merely lis­tening to it was a pleasure.”

TAZ

 

“The Osnabrück Sym­pho­ny Orches­tra, with Andre­as Hotz at the helm, pre­sen­ted the ears with an ori­gi­nal, auto­no­mous, and also com­plex music, full of sur­pri­ses. From the orches­tra pit, sump­tuous and pas­sio­na­te sounds emer­ged that were also pro­found­ly moving, as the music rever­be­ra­ted up to trans­cen­den­tal heights (…) “This has power, and smoul­ders with emo­ti­on.” “ A magni­ficent ope­ra­tic rediscovery.”

Neue Osna­brü­cker Zeitung 

 

“Under their chief con­duc­tor Andre­as Hotz, the Osnabrück Sym­pho­ny Orches­tra thril­led the audi­ence at the pre­mie­re with their luscious and ardent inter­pre­ta­ti­on of Puc­ci­ni. Puccini’s music is cha­rac­te­ri­sed by an intel­lect which tar­gets the heart and bel­ly, and the orches­tra hit the bull­seye this evening with its sen­suous playing.”

Neue Osna­brü­cker Zeitung 

 

“The per­for­mance suc­cee­ded in releasing musi­cal magic, which was first and fore­mo­st to the credit of the young and high­ly talen­ted con­duc­tor Andre­as Hotz, who drew sen­si­ti­ve play­ing and finely dif­fe­ren­tia­ted cha­rac­ters from the Osnabrück Sym­pho­ny Orchestra.”

Klas­sik heute 

 

“Under the direc­tion of Andre­as Hotz, the orches­tra did not lose con­cen­tra­ti­on for even a moment during the­se three hours. They gave an impres­si­on of end­less depth and space.” “The bird­song at the begin­ning of the second act was every bit as evo­ca­ti­ve as the poi­gnant and ent­hral­ling ten­der­ness of the strings in the for­gi­ve­ness scene.”

Frank­fur­ter All­ge­mei­ne Zeitung 

 

“Redis­co­very of the year 2019” (Albé­ric Magnard: Guer­co­eur) “Exem­pla­ry quality.”

Opern­welt

“The musi­ci­ans soar up into a vel­ve­ty and volu­min­ous collec­ti­ve sound. (…) This is the suc­cess­ful redis­co­very of a gre­at and fasci­na­ting work.”

Süd­deut­sche Zeitung

 

“Sel­dom does an ope­ra deve­lop such an evo­ca­ti­ve magne­tism. Sel­dom do sta­ging and music fuse so per­fect­ly tog­e­ther. The­se are the moments that brand them­sel­ves inde­li­b­ly into the memory.”

Neue Osna­brü­cker Zeitung 

 

“…an inspi­ring evening of ope­ra.” “In the orches­tra pit, Andre­as Hotz dri­ves the whirl­wind plot power­ful­ly for­wards, sum­mons light­ning and makes thun­der roll, evo­kes the sound of the wine flowing down Falstaff’s throat and sen­ding bub­bles to his head, deman­ding the utmost from the choir and ensem­ble, without over­whel­ming them.”
“…yes­ter­day evening with the orches­tra and artis­tic direc­tor Andre­as Hotz, making Falstaff’s fine esprit and musi­cal wit audi­ble in every moment…”
“Giu­sep­pe Verdi’s music was in the best pos­si­ble hands yes­ter­day evening with Andre­as Hotz. From the orches­tra pit, Fal­staff sound­ed fresh as the morning dew, deli­ca­te in its varie­ty of tone colour, full-bodi­ed and yet never force­ful in the tut­ti pas­sa­ges. Even the score’s many treache­rous stumb­ling blocks, such as the rapid tem­pi nee­ding pre­cise coor­di­na­ti­on bet­ween orches­tra and sin­gers, were over­co­me without excep­ti­on. The audi­ence at the pre­mie­re was at once infec­ted by this enthu­si­asm, and erup­ted into rap­tur­ous applause.”
“The­re was won­der­ful cha­rac­te­ri­sa­ti­on of the two sphe­res, the cho­ral pas­sa­ges, some­ti­mes in a distant reve­rie, at other times publicly figh­t­ing and quar­rel­ling. Equal­ly won­der­ful were the exten­si­ve pro­gram­ma­tic sym­pho­nic inter­lu­des, which the Osnabrück Sym­pho­ny Orches­tra, under the direc­tion of Andre­as Hotz, per­for­med with gre­at power of expression.”
“The Osnabrück Sym­pho­ny Orches­tra, under Andre­as Hotz, cele­bra­ted the music of Ver­di. Ever­yo­ne invol­ved, from the pit to the foot­lights, was clear­ly having fun.”
“The meti­cu­lous con­duc­ting of artis­tic direc­tor Andre­as Hotz pro­ved to be an excel­lent link bet­ween sta­ge and orches­tra. With brisk tem­pi, he led the Osnabrück Sym­pho­ny Orches­tra through the score, which the musi­ci­ans per­for­med with equal vigour, pre­cisi­on and subtlety.”

“The Osnabrück Sym­pho­ny Orches­tra, under Andre­as Hotz, cap­ti­va­ted the lis­tener in the rus­hing undu­la­ti­ons and expres­si­ve urgen­cy of Hans Gál’s music.” “A most enjoya­ble ope­ra pre­mie­re, rewar­ded by the audi­ence with rap­tur­ous applau­se and a stan­ding ovation.”

West­fä­li­sche Nachrichten 

 
“…hea­ring the orches­tra doing so is a delight.” (…) “light­ness and furo­re”. (…) ” “but who dares wins.” “A per­fect fina­le, fol­lo­wed by three encores, which brought the audi­ence to their feet.”

Neue Osna­brü­cker Zeitung 

 

“…a genui­ne tre­a­su­re was unear­t­hed.” “The same is true of the sple­ndid­ly dis­po­sed orches­tra under the direc­tion of Andre­as Hotz. The over­tu­re and nume­rous other pas­sa­ges sent shi­vers down the spine.”

Osna­brü­cker Nachrichten 

 

“This may also be due to the excep­tio­nal con­duc­ting of artis­tic direc­tor Andre­as Hotz, who pul­led the strings of the Osnabrück Sym­pho­ny Orches­tra with his cus­to­ma­ry skill, stri­ving to show the score in its best pos­si­ble light.”

deropernfreund.de

 

“In him, we wit­nessed a young con­duc­tor who­se exer­ti­ons reached limits one could only mar­vel at. A fire of this kind must be a gre­at inspi­ra­ti­on to the orches­tra.” “… (They) play­ed sono­rous­ly and sen­si­tively in the slow sec­tion, but after the trumpet signal from afar then with bril­li­an­ce and ver­ve, swept along by the con­duc­tor.” “ All this was achie­ved at the hig­hest level, under the assu­red direc­tion of a skil­led and atten­ti­ve con­duc­tor.” “…(He) cele­bra­ted this page­an­try of tone colour with pal­p­a­ble delight, all, of cour­se, in pre­mi­um quality.”

Wes­er­zei­tung

 

“All prai­se is due to Andre­as Hotz and his Osnabrück Sym­pho­ny Orches­tra, who, with a cloak of authen­tic sound, cap­tu­red the musi­cal moods to perfection.”

Die Glo­cke

 

“With gre­at pre­cisi­on and com­po­sure, Andre­as Hotz com­man­ded an impres­si­ve ran­ge of expres­si­on from his orches­tra right from the very first bar.”
TAZ

 

“Artis­tic direc­tor Andre­as Hotz implies an end­less depth of space. The Osnabrück Sym­pho­ny Orchestra’s sound is so deli­ca­te — from sil­ky radi­an­ce to raw buz­zing and scra­ping — and so judi­cious­ly gra­dua­ted, that it gives the impres­si­on of vast hori­zons.” (…) “This requi­res an enor­mous feat of coor­di­na­ti­on by the con­duc­tor, yet the choirs had been so well pre­pa­red that Andre­as Hotz even kept hold of the reins in the peri­lous stu­dent song duel, with the Catho­lic “Te Deum Lau­da­mus” and the Lutheran “Ein fes­te Burg ist unser Gott”.

Frank­fur­ter All­ge­mei­ne Zeitung 

 

“For his ope­ra Dok­tor Faust, Fer­ru­cio Buso­ni crea­ted a music that is shim­me­ring and power­ful, by turns har­sh and gent­le, at times melan­cho­ly, and even per­cus­sive. It was lent enor­mous­ly evo­ca­ti­ve power of expres­si­on by Andre­as Hotz at the helm of the Osnabrück Sym­pho­ny Orches­tra.” “It is asto­nis­hing that for almost three hours, the ent­i­re musi­cal hap­pe­nings in the orches­tra pit con­ti­nued to sei­ze the lis­tener and bare­ly loo­sen their grip.”

Thea­ter Pur 

 

“The two actors, and Andre­as Hotz, at the helm of the Osnabrück Sym­pho­ny Orches­tra, kept the sto­ry flowing, sweeping the lis­tener along.” “The Osnabrück Sym­pho­ny Orches­tra play­ed with heigh­te­ned awa­reness, gre­at pre­cisi­on and the vital fle­xi­bi­li­ty requi­red for the vol­te-face bet­ween emo­tio­nal tem­pests of love and pain, and drea­my idyll, and back again.”

Neue Osna­brü­cker Zeitung 

 

“Musi­cal direc­tor Andre­as Hotz holds the reins firm­ly in his hands in the orches­tra pit. It is just as well, given the esprit which he and the musi­ci­ans of the Osnabrück Sym­pho­ny Orches­tra dis­play, and the con­ta­gious enthu­si­asm with which he approa­ches the score. Every nuan­ce hits the mark — a gre­at evening lies ahead!”

Der Opern­freund

 

“All prai­se is due to the Osnabrück Sym­pho­ny Orches­tra under Andre­as Hotz. He illu­mi­na­ted the voices and the very depths of the score in gre­at detail, and the orches­tra play­ed suc­cinct­ly and with audi­ble enjoy­ment. The­re was no hint of how stre­nuous and ener­gy-sap­ping Busoni’s music is, and still the orches­tra never hog­ged the limelight…”

Neue Osna­brü­cker Zeitung 

 

“He illu­mi­na­ted the score to its very depths and fos­te­r­ed a lar­ge mea­su­re of sen­suous­ness. The orches­tra fol­lo­wed him with devo­ti­on and high spirits.”
“With the star-stud­ded orches­tra, the on and offs­ta­ge choirs, and high-pre­cisi­on soloists in even the smal­lest roles, Andre­as Hotz unfold­ed a vast and expan­si­ve musi­cal land­s­cape, a poly­pho­nic con­cert in the neo­clas­si­cal spi­rit, which tur­ned the evening into an over­whel­ming occasion.”

Neue Osna­brü­cker Zeitung 

 

“A ter­ri­fic con­cert, and a valu­able state­ment: The Osnabrück Sym­pho­ny Orches­tra pro­mo­tes tole­ran­ce with Mah­ler.” “Gus­tav Mahler’s first sym­pho­ny is in any case a con­sum­m­ate­ly for­med work, which the Osnabrück Sym­pho­ny Orches­tra under their chief con­duc­tor pre­sen­ted in a tru­ly thril­ling ver­si­on. Orches­tra and con­duc­tor por­tray­ed magi­cal idylls, cru­de folk­lo­re, chee­ry klez­mer music and ple­nty of wit.”

Neue Osna­brü­cker Zeitung 

 

“…a spec­ta­cu­lar discovery…”
Opern­welt

 
“The orches­tra, super­b­ly moti­va­ted by Andre­as Hotz…” “Thril­ling inter­pre­ta­ti­on…” “With fea­ther­light momen­tum, the orches­tra extrac­ted the utmost inspi­ra­tio­nal light­ness and ten­der emo­tio­nal riches from the score.”
“Gre­at esprit…”
klassik-heute.com

 
“In col­la­bo­ra­ti­on with Hotz and the immen­se­ly con­cen­tra­ted orches­tra, the high­ly com­plex score was given a fatal dose of life, so to speak. It was not only Hotz’s pre­cise and pro­vi­dent coor­di­na­ti­on of the dif­fe­rent lay­ers of the orches­tra that was cap­ti­vat­ing, but also the dra­ma­ti­sa­ti­on of form and expres­si­on, which he reve­a­led see­min­gly without a second thought.”
Kie­ler Nachrichten 

 
“Hotz teased a Rus­si­an fai­ry­ta­le world from the orches­tra, made it dance and sing, main­tai­ning refi­ne­ment and accu­ra­cy all the while. The remar­kab­ly keen dyna­mics and begui­lin­g­ly warm orches­tral sound enn­o­bled this interpretation.”
Das Orches­ter

 
“… under the direc­tion of Andre­as Hotz, the Osnabrück Sym­pho­ny Orches­tra deligh­ted the audi­ence.” “The conductor’s fire unleas­hed a musi­cal tempest.”
Neue Osna­brü­cker Zeitung

 
“With the Osnabrück Sym­pho­ny Orches­tra, Andre­as Hotz inter­pre­ted the com­plex and sophisti­ca­ted score with both atten­ti­on to detail and a fee­ling for the lar­ger sca­le. Des­pi­te sym­pho­nic sur­ges, Hotz’s accom­p­animent is singer-friendly.”
Kul­tur­ma­ga­zin O‑Ton

 
“The deman­ding score was inter­pre­ted with gre­at nuan­ce and sub­t­le­ty by the Osnabrück Sym­pho­ny Orches­tra, under Andre­as Hotz.”
Deutsch­land­funk

 
“But all this was car­ri­ed by the detail­ed work of Andre­as Hotz and the sym­pho­ny orches­tra. Hotz led the sin­gers and orches­tra judi­cious­ly through the taxing score. “Das Lied der Nacht” is a magni­ficent dis­co­very, and out­stan­din­gly inter­pre­ted by the ope­ra company.”
Neue Osna­brü­cker Zeitung

 
“Artis­tic direc­tor Andre­as Hotz gives an excep­tio­nal rea­ding of the score.”
Ope­ra Nederland 

 
“Hotz inter­pre­ted the musi­cal lan­guage with end­less sen­si­ti­vi­ty to dyna­mics, a fee­ling for trans­lucen­cy, and asto­nis­hing pre­cisi­on, as demons­tra­ted by the orchestra.”
Der neue Merker 

 
“…lively and fresh, it is a joy to lis­ten to the orches­tra under Andre­as Hotz.”
Neue Osna­brü­cker Zeitung

 
“The Mozart sym­pho­ny was also a won­der­ful suc­cess… Against this back­ground, he led the Geor­gi­an Cham­ber Orches­tra trip­pin­gly through the score, with gre­at assuran­ce, seduc­ti­ve ele­gan­ce, the light­ness of cham­ber music, and play­ful characterisation…”
Donau­ku­rier

 
“Under the judi­cious baton of the tem­pe­ra­men­tal thir­ty­so­me­thing, the orches­tra ope­ned with Beethoven’s Egmont over­tu­re to a full house.” “…he atta­ched immense impor­t­ance to logi­cal musi­cal deve­lo­p­ment, meti­cu­lous­ly tra­cing each indi­vi­du­al com­po­si­tio­nal struc­tu­re. The result was a mul­ti­fa­ce­ted nar­ra­ti­on of a sto­ry with all man­ner of twists and turns, and a tri­um­phal fina­le, arres­tin­g­ly under­pin­ned with impo­sing brass.” “Tumul­tuous applau­se for a fabu­lous after-work concert.”
Weser­ku­rier

 
“The expe­ri­ment suc­cee­ded becau­se the orches­tra, under its chief con­duc­tor Andre­as Hotz, came as clo­se as pos­si­ble to the ori­gi­nal sound of Beethoven’s time, thanks in part to bril­li­ant natu­ral horns and trumpets. Fur­ther­mo­re, their fine and dis­creet arti­cu­la­ti­on tru­ly allo­wed Brautigam’s peri­od instru­ment to come into its own… Beet­ho­ven of this kind is a real pleasure.”
Neue Osna­brü­cker Zeitung 

 
“This was a Mah­le­ri­an ver­si­on of “Wochen­end’ und Son­nen­schein” by the Come­di­an Har­mo­nists. Andre­as Hotz and the Osnabrück Sym­pho­ny Orches­tra hit just the right note in the fourth sym­pho­ny…” “Their inten­si­ty led the audi­ence to a ten­der apo­theo­sis. The sym­pho­ny floated off into silence, mer­ci­ful­ly unin­ter­rup­ted, befo­re the well-deser­ved applau­se began.”
Neue Osna­brü­cker Zeitung 

 
“An exhilara­ting con­cert…” “… excel­lent and authen­tic play­ing…” “…a dazz­ling performance.”
Lan­des-Zei­tung Lüneburg 

“Hotz con­ju­res Richard Strauss tone poems par excel­lence! Vir­tuo­si­cal­ly, com­pel­lin­g­ly honed, and trans­pa­rent in the midd­le voices, the tone colours real­ly shi­ne through…” “In this con­cer­tan­te per­for­mance of Elek­tra with its fine soloists, Thea­ter Osnabrück demons­tra­tes the supe­ri­or calibre of its orches­tra and musi­cal direc­tor Andre­as Hotz.”
Online Musik Magazin 

 

“The sym­pho­ny orches­tra, under artis­tic direc­tor Andre­as Hotz, … under­li­nes the inti­ma­cy of the youth­ful psy­cho­lo­gi­cal dra­ma with the trans­pa­ren­cy and deli­ca­teness of cham­ber music. In doing so, howe­ver, the thea­tri­cal dra­ma of cer­tain sce­nes is not over­loo­ked. With the furious tem­pi of both over­tures, Hotz repu­dia­tes any hint of syru­py romanticism.”
Thea­ter pur 

 
“From out of the orches­tra pit, the won­der­ful… music of Pyotr Ilyich Tchai­kovs­ky resound­ed impres­si­ve­ly in the hands of Andre­as Hotz and the sen­si­ti­ve Osnabrück Sym­pho­ny Orches­tra. The well-ear­ned, rap­tur­ous applau­se and stan­ding ova­ti­on from the jubi­lant audi­ence could only be brought to an end by the lowe­ring of the curtain.”
West­fä­li­sche Nachrichten 

 

“The power source in the orches­tra pit.” “Andre­as Hotz is a fas­ti­dious con­duc­tor, and one with a spe­ci­fic visi­on, pre­cise­ly con­cer­ning such com­plex musi­cal tex­tures as in Kai­ja Saariaho’s “Nym­phéa Reflection”.
Neue Osna­brü­cker Zeitung 

 
“The Osnabrück Sym­pho­ny Orches­tra, under the direc­tion of the young Andre­as Hotz, deli­ve­r­ed an out­stan­ding ren­di­ti­on of this expres­si­ve score, with its abundant Roman­tic melo­dic sequences.”
Der neue Merker 

 

“The Osnabrück Sym­pho­ny Orches­tra, under their artis­tic direc­tor Andre­as Hotz, play Saa­ria­ho with per­fect cla­ri­ty, and Brahms with gre­at expres­si­on and trans­pa­ren­cy of tone.”
Thea­ter Pur 

 

“With an audi­ence of 5000, inclu­ding the Rus­si­an for­eign minis­ter Ser­gey Lav­rov and his Ger­man coun­ter­part, Frank-Wal­ter Stein­mei­er, it is hard to ima­gi­ne more pro­mi­nence and pres­ti­ge for the Osnabrück orches­tra and for Vol­go­grad. Moreo­ver, it was a huge success.”
“…long and enthu­si­astic applau­se for the high­ly con­cen­tra­ted ensem­ble and Andre­as Hotz, with the dazz­ling play­ing of the Osnabrück Sym­pho­ny Orchestra.”
Neue Osna­brü­cker Zeitung 

 

“A moving con­cert expe­ri­ence.” “…Andre­as Hotz laid bare this wealth of colour and held the who­le struc­tu­re per­fect­ly tog­e­ther. The Osnabrück Sym­pho­ny Orches­tra defied the cold of the open-air con­cert, play­ing atten­tively and with gre­at relish.”
Neue Osna­brü­cker Zeitung 

 

“The strings pro­du­ced a warm and volu­min­ous sound. Hotz balan­ced the for­ces judi­cious­ly, clean­ly pla­cing each tone colour… The high qua­li­ty was all the more remar­kab­le given that Hotz and his orches­tra couldn’t nego­tia­te such a mam­mo­th work alo­ne. Richard Strauss envi­sa­ged around 120 musi­ci­ans for the task…”
Neue Osna­brü­cker Zeitung

 

“…Schubert’s Unfi­nis­hed was a true moment of glo­ry. With no hint of tour fati­gue, the musi­ci­ans reached a point at which utmost sen­si­ti­vi­ty and pre­cisi­on evo­ked maxi­mum musi­cal intensity.”
Neue Osna­brü­cker Zeitung 

 

“Under Andre­as Hotz’s rou­sing direc­tion and excep­tio­nal sty­listic pro­wess, the lis­tener real­ly came to appre­cia­te Gurlitt’s … Soldaten.”
Die deut­sche Bühne 

 

“Andre­as Hotz demons­tra­ted how fan­tastic the music is.”
Neue Osna­brü­cker Zeitung 

 

“…Andre­as Hotz’s excel­lent­ly rehe­ar­sed and con­duc­ted Osnabrück Sym­pho­ny Orches­tra… Hotz suc­ceeds in clear­ly set­ting apart the indi­vi­du­al ges­tu­res in the film-like, frag­men­ta­ry sce­nes with their cham­ber, even soloistic sco­ring, whilst at the same time fusing them tog­e­ther into a cohe­rent whole.”
Opern­welt

 

“This free space was fil­led by artis­tic direc­tor Andre­as Hotz and the dou­ble orches­tra with gre­at tonal sen­si­ti­vi­ty, and with the necessa­ry pre­cisi­on to inter­rupt the silence with the bru­ta­li­ty of an explo­ding grenade.”
Neue Osna­brü­cker Zeitung

 

“A lively Schu­mann was on the pro­gram­me. Andre­as Hotz led his orches­tra through the fourth sym­pho­ny with enor­mous­ly expres­si­ve ges­tu­res… honing the con­trasts in this way.”
Neue Osna­brü­cker Zeitung 

 

“From the orches­tra pit Andre­as Hotz sub­t­ly kind­les hea­ted fee­lings of jea­l­ou­sy and reven­ge, then bit­ter­ly laments the sta­te of the world, and to finish, speaks fond­ly for har­mo­ny, love and peace…”
West­fä­li­sche Nachrichten 

 

“Musi­cal­ly magnificent…The Osnabrück Sym­pho­ny Orches­tra, under the direc­tion of Andre­as Hotz, plays Ver­di so thril­lin­g­ly that one some­ti­mes for­gets to keep up with the plot.”
Osna­brü­cker Nachrichten 

 

“Hotz crea­ted a gent­ly melan­cho­lic, finely mixed fun­da­men­tal sound that accom­pa­nied the cha­rac­ters, abo­ve all in their lon­ging and loneliness.”
Deutsch­land­funk

 

“Under the baton of Andre­as Hotz, the over­tu­re unfold­ed its ent­i­re wealth of colour…” “Andre­as Hotz exami­ned the varied motifs in minu­te detail, and in doing so, crea­ted an expe­ri­ence of gre­at homo­gen­ei­ty for the listener.”
Schaum­burg Lip­pi­sche Landes-Zeitung 
 

“Best new genera­ti­on artist of the 2013/14 season.”
Neue Osna­brü­cker Zeitung

 
“Andre­as Hotz knew how best to illu­mi­na­te the mul­ti­fa­ce­ted music with its recur­ring late-Roman­tic iri­de­scence. The­re was gre­at cohe­rence bet­ween sta­ge, sin­gers and orches­tra throughout, as if all ele­ments of the pro­duc­tion were cast in the same mold. The rela­tively lar­ge body of instru­ments never drow­ned the sin­gers, and Hotz care­ful­ly jud­ged the balan­ce, savou­ring every out­stan­ding musi­cal moment.”
Der neue Merker 

 

“This only suc­cee­ded becau­se artis­tic direc­tor Andre­as Hotz gui­ded the cour­se of the music so judi­cious­ly and with gre­at sen­si­ti­vi­ty to the dif­fe­rent styles, from gushing Wag­ne­ria­nism to humo­rous accom­p­animent of the ons­ta­ge action. In spi­te of the lar­ge instru­men­tal for­ces, the sin­gers were never covered.”
Der neue Merker 

 
“Andre­as Hotz’s exem­pla­ry inter­pre­ta­ti­on of “Die Vögel” von Wal­ter Braun­fels.” “Under the direc­tion of Andre­as Hotz, the choir real­ly excel­led its­elf in the nume­rous and excee­din­gly deman­ding crowd sce­nes, as did the Osnabrück Sym­pho­ny Orchestra.”
Opern­welt

 

“Thanks to the rou­sing play­ing of his musi­ci­ans, his Mozart was cut­ting edge, with an orches­tral sound of finest pla­ti­num, laye­red like a 3‑D image.”
Neue Osna­brü­cker Zeitung

 
“The lar­ge for­ces of the Ver­di Requi­em fol­lo­wed con­duc­tor Andre­as Hotz to a most deli­ca­te pia­nis­si­mo time and again, and at the very begin­ning even bey­ond. They unleas­hed apo­ca­lyp­tic for­ce in the Dies Irae, and whe­re­ver it was appro­pria­te. The­re was no lack of contrasts.”
Neue Osna­brü­cker Zeitung 

 
“And yet eupho­ria tri­um­phed, which was mani­fest in the con­duc­ting of artis­tic direc­tor Andre­as Hotz. He gave his orches­tra more or less free rein, …  releasing maxi­mum energy.”
Neue Osna­brü­cker Zeitung 

 
“Hotz seeks his own path regar­ding sound aes­the­tics, prio­ri­ti­sing sono­ri­ty and soft con­tours, whilst drawing maxi­mum pre­cisi­on and varie­ty of colour from his orchestra.”
Neue Osna­brü­cker Zeitung 

 
“Andre­as Hotz makes the music spark­le in all its rich­ness, opale­scence and pro­fun­di­ty. To this end, he has an out­stan­ding line-up of sin­gers, the sple­ndid Osnabrück Sym­pho­ny Orches­tra, and the ope­ra cho­rus. A com­bi­na­ti­on with which he cata­pults Osnabrück into the ope­ra­tic pre­mier league.”
Neue Osna­brü­cker Zeitung 

 
“The evening was surely also the finest hour of artis­tic direc­tor Andre­as Hotz and the Osnabrück Sym­pho­ny Orches­tra. They well and tru­ly did jus­ti­ce to Wal­ter Braunfels’s colour­ful and nuan­ced score. The audi­ence could real­ly wal­low in the who­le sump­tuous sound world, and the sin­gers were given the red car­pet treatment.”
Thea­ter pur 

 
“The­re is the artis­tic direc­tor Andre­as Hotz, who makes Braunfels’s tre­men­dous­ly colour­ful and mul­ti­fa­ce­ted score shi­ne won­der­ful­ly at all times, with real sen­si­ti­vi­ty for tone colour in the vein of Strauss and Wagner.”
NMZ

 

“And this per­for­mance had ano­t­her hero: Andre­as Hotz. The young artis­tic direc­tor, along with the exqui­si­te play­ing of the orches­tra, achie­ved an inter­pre­ta­ti­on of the score which real­ly set the bar. It was lean and clear across the parts, trans­pa­rent in sound, and brea­thed melo­dious­ly…” “A sple­ndid evening of opera!”
Die deut­sche Bühne 

 

“A thril­ling per­for­mance! The unre­ser­ve­d­ly expres­si­ve intent of the young con­duc­tor was car­ri­ed out magni­ficent­ly by the orches­tra, trans­mit­ting its­elf to the audi­ence as an almost phy­si­cal experience.”
Neue Osna­brü­cker Zeitung 

 

“…a red-hot fire­cra­cker. With keen-edged sound and gre­at pre­cisi­on, Hotz mixed an ener­gy drink to get the evening going, under the tit­le, “Bounda­ries of Power”. “Hotz sta­ged a musi­cal dra­ma, in which the world stands moti­on­less, wan and devoid of expres­si­on, whe­re weigh­ty world wea­ri­ne­ss builds up into tren­chant dis­so­nan­ce, and gro­tes­que scorn ulti­mate­ly prevails.”
Neue Osna­brü­cker Zeitung 

 

“The Osnabrück Sym­pho­ny Orches­tra under Andre­as Hotz is musi­cal­ly com­pel­ling in its trans­pa­rent, nuan­ced and high­ly expres­si­ve inter­pre­ta­ti­on. The arti­cu­la­ti­on in rhyth­mic pas­sa­ges is keen and lean, and the melo­dy lines are shaped with won­der­ful dyna­mic gradation.”
Online Musik Magazin

 

“On top of pas­sio­na­te play­ing comes a gre­at deal of expe­ri­ence, and a con­duc­tor who pri­zes not only ener­gy but also musi­cal ana­ly­sis. The result is an over­whel­ming inter­pre­ta­ti­on. … Then Hotz set forth on the fire­bolt fina­le, in which filigree coun­ter­point and effu­si­ve joie de viv­re are super­im­po­sed. Exemplary.”
Neue Osna­brü­cker Zeitung

“With Beet­ho­ven, Hotz seems to be pret­ty much infal­li­ble. The orches­tra play­ed with alertness and gre­at pre­cisi­on, and the con­duc­tor for­med a lean yet impul­si­ve sound, allowing the orches­tral soloists room to spread their wings.”

Neue Osna­brü­cker Zeitung 

“The Osnabrück artis­tic direc­tor brought sounds forth that glit­te­red like ice, yet under the sur­face it was sim­me­ring and pounding.”

Neue Osna­brü­cker Zeitung 

“Yet the­re was ano­t­her for­ce which gui­ded and inspi­red the events on sta­ge, dau­bing and dabbing the can­vas like a pain­ter: artis­tic direc­tor Andre­as Hotz and the Osnabrück Sym­pho­ny Orches­tra. Hotz is a cle­ver and extre­me­ly fle­xi­ble dia­lo­gue part­ner for the sta­ge and sin­gers. Some­ti­mes he lets Puccini’s music do all the tal­king, and at other times he wal­lows in emo­ti­on. With fasci­na­ting light­ness of hand, the Brio is revo­ked and the dyna­mic modi­fied, fol­lo­wed by a ten­der soloistic whis­per and an almost reverent hol­ding of breath in the short and power­ful rests.…”

Neue Osna­brü­cker Zeitung 

“Hotz laid bare the struc­tu­re of the his­to­ri­cal sound world, choo­sing brisk tem­pi, favou­ring crisp trans­pa­ren­cy, and struc­tu­ring the score with a sen­se for the cli­ma­xes and interruptions.”

Neue Osna­brü­cker Zeitung 

“Gre­at fun to hear.”

Neue Osna­brü­cker Zeitung 

“Hotz approa­ched the work with a risk-embra­cing resol­ve that mir­ro­red the spi­rit of Beet­ho­ven most fit­tin­g­ly: lean and wiry as an ath­le­te and hum­ming with ener­gy.” “The cut­ting edge of Ger­man orches­tral cul­tu­re, this is today’s approach to Beethoven.”

Neue Osna­brü­cker Zeitung 

“Andre­as Hotz met with triumph”.

Neue Osna­brü­cker Zeitung 

“Andre­as Hotz inci­ted his orches­tra to thril­ling inter­pre­ta­ti­ons, with small-sca­le and sup­ple dyna­mics, light and lim­ber arti­cu­la­ti­on, and brisk tem­pi. The result is a slim­med-down Mozart, a typi­cal Mozart for 2013.”

Neue Osna­brü­cker Zeitung 

“One sen­sed a pro­found under­stan­ding of the music. Andre­as Hotz and the orches­tra deli­ve­r­ed an inten­se inter­pre­ta­ti­on with real con­cen­tra­ti­on and varie­ty of sound, which never stray­ed towards brashness.”

klassik.com

“Here was pro­of once more that the Thea­ter der Frie­dens­stadt is tru­ly bles­sed with its young artis­tic direc­tor. Hotz knows exact­ly how to gui­de and spur his musi­ci­ans through Puccini’s rich­ly varied score. The orches­tra mas­te­red the balan­cing act bet­ween pia­no and for­te, soft nuan­ces and expan­si­ve melo­dies, with bravura.”

span class=“quelle”>cultureblogcity.blog.de

“Andre­as Hotz achie­ves peak per­for­mance from his orches­tra, crea­ting trans­pa­ren­cy in the score, and illu­mi­na­ting each group of instru­ments like the reli­ef of a mono­chro­ma­tic picture.”

Osna­brü­cker Nachrichten 

“Musi­cal­ly magnificent.”

Osna­brü­cker Nachrichten 

“Con­duc­tor Andre­as Hotz crea­tes flow and a pre­cise­ly balan­ced sound. Not a sin­gle note was sung or play­ed eit­her too soft­ly or too loud­ly, too har­sh­ly or too gent­ly. The Osnabrück Sym­pho­ny Orches­tra is an out­stan­ding part­ner in the ope­ra pit.”

Opern­netz

“With expan­si­ve ges­tu­res, con­duc­tor Andre­as Hotz shows the com­plex score in all its colour­ful glory.”

Thea­ter pur 

“Fol­lowing a suc­cess­ful inau­gu­ral con­cert, the new artis­tic direc­tor Andre­as Hotz has also got off to a sple­ndid start as an ope­ra con­duc­tor.” “At the helm of the keen­ly alert orches­tra, Hotz direc­ted with con­si­de­red yet feve­rish precision.”

Neue Osna­brü­cker Zeitung 

 

“All the thrill without the pathos.”
“Pre­cise, power­ful and yet see­min­gly effort­less…” “Andre­as Hotz got off to a sple­ndid start with the first sym­pho­ny con­cert of the new season.”

Das Orches­ter

 

“The orches­tra was impres­si­ve in the trans­pa­ren­cy of its sound, and the natu­ral­ness of its arti­cu­la­ti­on in the ear­ly Clas­si­cal spirit.”

“A glit­te­ring inau­gu­ral con­cert.” “Hotz cal­cu­la­ted cle­ver­ly, achie­ved trans­pa­ren­cy of sound, and held the ten­si­on across long stret­ches of music.”

“With Beet­ho­ven, Hotz seems to be pret­ty much infal­li­ble. The orches­tra play­ed with alertness and gre­at pre­cisi­on, and the con­duc­tor for­med a lean yet impul­si­ve sound, allowing the orches­tral soloists room to spread their wings.”

Neue Osna­brü­cker Zeitung