PRESS
Ute Schalz-Laurenze, Neue Musikzeitung, 24.09.2023
And Marc Niemann with the Philharmonic Orchestra: he reaches out with forward-storming force, but also finds beautiful and many intermediate tones that clearly included the orchestra in the cheers. The orchestral quality worked above all in a subliminally lurking and threatening character. The music permanently opens up new spaces, real or virtual or mental.
Wolfgang Denker, Weser-Kurier, 24.09.2023
And another trump card is played by Marc Niemann and the Philharmonic Orchestra Bremerhaven. Niemann brings out all the tonal nuances of Puccini's music in a way that makes sense. Drama and lyricism are excellently balanced. The torture scenes are powerfully fueled, the beginning of the third act is a subtle sonic painting.
Christine Gorny, Radio Bremen, 25.09.2023
The Philharmonic Orchestra of Bremerhaven, conducted by Marc Niemann, provided a coherent and sensitive accompaniment to this concentrated and touching production.
Ute Schalz-Laurenze, Neue Musikzeitung, 14.04.2023
Wolfgang Denker, Weser-Kurier, 27.03.2023
Fritz Herzog, General Anzeiger Bonn, 04.10.22
With Marc Niemann, Musical Director of Bremerhaven, an excellent conductor was able to animate the large Classical Philharmonic Orchestra Bonn to top performances.
Even Beethoven's first incidental music, "The Creatures of Prometheus", revealed the evening's thematic framework. And so Niemann, finely balanced between the instruments, emphasised the vital dance character through flaming "con brio", not without letting Beethoven's humour speak in the wood winds.
Beethoven's Seventh - as a crowning finale: the symphony apostrophised by Richard Wagner as the "apotheosis of dance" with its bacchanalian unleashed eruptive power was realised by Niemann and the classical Philharmonic in a way whose detailed sound language simply put the reference reading of a Carlos Kleiber in the shade. Chapeau!
Markus Wilks, Opernglas, 10/2022
Ute Schalz-Laurenze, Neue Musik Zeitung, 18.09.2022
Standing ovations are a common occurrence at concerts, but rarer at the opera. But now, after the premiere of Giuseppe Verdi's "Macbeth" in Bremerhaven, the entire audience rose in unison. What had impressed them so much?
Most certainly the music under the direction of Marc Niemann (General Music Director since 2014), who elicited an enormous wealth of colours, gestures and accents from the Bremerhaven Philharmonic Orchestra and the opera choir (led by Mario El Fakih Hernández). It was almost as if the staging of Verdi's outsider work was played out with its force and garishness in the musical interpretation. Niemann's conducting beautifully revealed the contours of the work: pale colours, thrilling crescendos, ghostly moods, menacing sounds to which one could barely hear the traditional symphony orchestra.
Sebastian Loskant, Nordseezeitung, 18.09.2022
In the Philharmonic Orchestra under Marc Niemann, the Parisian version of 1865 was phenomenally effective: racy, concise and very atmospheric. The same was true of the choir under Mario El Fakih Hernandez, who sounded united and pointed in all their actions. [...] King class everywhere
Wolfgang Denker, Weser Kurier, 19.09.2022
Only the very best can be said about the musical side. Marc Niemann and the Philharmonic Orchestra Bremerhaven not only play with great concentration and flawlessness. They also set highly dramatic accents, give the music sometimes rousing momentum with exactly the right tempi and leave the singers room to breathe. It is a rendition that captivates and thrills from the first bar to the last.
Marco Rainaldi, Sipario.it, 01.08.2022
On the last evening of the Cantiere di Montepulciano, one of the most breathtaking sides of Sergei Prokofieff's Second Piano Concerto opens up to us under the perfect baton of Marc Niemann, who, we have not forgotten, made the interpretation of Colasanti's composition so compelling. [...] And even in this case, as with Colasanti, when the performance is over, you don't want to leave your chair and keep listening, as happens with Robert Schumann's Fourth Symphony, which Niemann conducts like a very experienced conductor, almost seeming to have the composer's power within him. He is very good, he has flair, he has elegance and above all he is so precise in his interpretation that one can conclude that he has a great knowledge of the repertoire. The Rhenish is also a symphony whose fourth movement is a real chorale, a glorification of Bach's genius, and as we know, Schumann loved Johann Sebastian so much that he invoked him as a patron deity. A great success for the Orchestra Regionale Toscana, which once again managed to prove that it is one of the best symphony orchestras in our country. No doubt about it!
Elisabetta Torselli, giornale della musica, 20.07.2022
The good news was the brilliant and effective conducting of Marc Niemann and the excellent performance of La Filharmonie - orchestra filarmonica di Firenze despite its very small cast; however, thinking back to past seasons, one basically had the impression that the Cantiere's tradition of reviving small masterpieces of the comic repertoire has stalled a bit. Nevertheless, a hearty success.
Francesco Arturo Saponaro, musicpaper.it, 22.07.2022
At the podium of La Filharmonie - Orchestra Filarmonica di Firenze, Marc Niemann concertised and conducted instrumental ensemble and voices with agile assurance. So that Donizetti's signature - wittily also in a self-quotation from Lucia - emerged clearly in the dramatic access, in the profile of the melodies, in the expressive polish, in the urgent rhythm.
Gerd Klingeberg, Nordseezeitung, 24.06.2022
Under the agile, demanding and motivating baton of chief conductor Marc Niemann, the orchestra carefully intoned the first, not yet very spectacular motifs of the first movement, which were abruptly replaced by powerful, tumultuous outbursts. The ensemble's performance was impressively sharply contoured and designed for the greatest possible transparency of the sound. The frequent, orchestrally concise changes between pleasantly friendly and bristlingly abrupt passages conveyed a high intensity of tension. The scherzo movement was convincing with its constant rhythmic tautness. The lively staccato pulsing. Only briefly interrupted in the trio's middle section, it was particularly fascinating in the shimmering, lively, sometimes almost haunting sequences.
Consecrated character
In contrast, the following Adagio movement sounded softly legato-flowing and with a touch of melancholy. Niemann's tempo guidelines underlined its consecrated character, but avoided any drift into turgidity. The dynamic developments with their long arches were excellently seamless. All this was topped by the gigantic finale, the setting of Schiller's Ode to Joy, introduced with chaotic orchestral thunder.
[...] Tutti sound waves went under the skin. Stormy applause, bravos and standing ovations from the all-round enthusiastic audience for a very successful performance.
Wolfgang Denker, Weser Kurier, 03.05.2022
The composer conjures up spherical, delicate tones, relies on melody and vocal line, on dance rhythms such as waltz and polka, and ignites a rapturous spectrum of sounds with powerful choral movements and expressive orchestral outbursts. It is music that simply thrills, especially as Marc Niemann on the podium of the Bremerhaven Philharmonic Orchestra ensures a consistently exciting and convincing performance. The first scene alone is hard to beat for overwhelming effect. The chorus and extra choir (Mario El Fakih Hernández) are also at their best.
Sebastian Loskant, Nordseezeitung, 14.03.2022
In the pit, Marc Niemann proves to be the ideal Stravinsky interpreter. Precision is paired with delicacy (two flutes with the solo trumpet). The Philharmonic Orchestra is at all times equal to its demanding role, despite minor mishaps. [...] Again thunderous applause.
Michael Pitz-Grewenig, Das Orchester 6/2022
General Music Director Marc Niemann deciphered the complex scores intelligently. He proceeded with the utmost conscientiousness, but also kept an eye on the poetic moodiness inherent in these works. The Bremerhaven Philharmonic Orchestra performed with sovereign reliability.
Sebastian Loskant, Nordseezeitung, 13.10.2021
With GMD Marc Niemann, this music sounds as masterful as a repertoire piece. The Scherzo with its bassoon quart g-d and the amusing pizzicato ending is ravishingly relaxed, the Andante with its horn chorale haunting. Only in the constantly decelerating finale did Ms. Kashperova make a mistake; the increase à la Bruckner seems rather violent despite the imposing brass crown. [...] Another brilliant composer discovered. Marc Niemann shows taste in his conquests.
Markus Wilks, Opernglas, 11/2021
On the one hand, GMD Marc Niemann emphasised the airy, light quality familiar from Offenbach's operettas; on the other hand, he animated the Philharmonic Orchestra, which was usually in very good form, to play with a powerful sound, as in a Verdi opera.
Michael Stange, IOCO 11.11.2021
Marc Niemann and the Philharmonic Orchestra Bremerhaven play a decisive role in the success of the production. Their music is rounded, differentiated and sensitive, with a warm French sound. Through tempo and sound modulations, Barcarole and other evergreens are kept from being kitschy and the work is played with drama, profundity and musical fire.
Sebastian Loskan, Nordseezeitung, 28.09.2021
Fabulous things can also be reported from the pit. Many beautiful solos, fantastic violin shimmering, a crisp horn intermezzo: the Philharmonic Orchestra under GMD Marc Niemann realised Michael Kaye's version fluidly, shining with operetta razzmatazz, lyricism and drama in equal measure.