November 2016

SAN FRANCISCO OPERA - “Madama Butterfly”


“...conductor Yves Abel made a welcome return after an unconscionable 20-year absence to lead a performance of tenderness and dramatic urgency.”
San Francisco Chronicle, Joshua Kosman, 7th November 2016


“... Conductor Yves Abel, in his first return since the company’s 1996 “Hamlet”, led a flowing orchestral performance that highlighted the urgency and reflective tenderness of Puccini’s score...”
The Mercury News, Georgia Rowe, 7th November 2016

August 2016

OPERA DI ROMA A CARACALLA - “Madama Butterfly”

“Yves Abel was successful in leading the dramatic tension, in harmony with a flexible orchestra always ready to follow his intentions.”
Luca della Libera, Il Messaggero, 31st July 2016

July 2016

OPERA DI ROMA A CARACALLA - "Il Barbiere di Siviglia"


"…precise and suitable, Yves Abel's conducting was in full harmony with the orchestra… "
Virman Cusenza, Il Messaggero, 20th July 2016


"Congratulations to the conductor, Yves Abel, are a must. International name, specialized in the rare french repertoire, Abel classily leads the Barbiere score: and it's  known how often one can hear vulgar interpretations in such a delicate and well known score of the comic Rossini repertoire. Abel reading is soft and smooth, with a sparkling sense of rhythm. The typical rossinian drive emerges excellently in the famous overture; all Rossini's interval leaps, dotted rhythm, and snappy moments Abel makes more vivid in his choose of tempi and the vigilant agogic accents in the staccati, as well in the well known storm right before the finale. The franco-canadian does not lack in elegantly accompanying the singers, communicating consistently with the stage, and executing everything with precision: the complex concertatos above all."
Stefano Ceccarelli, L'Ape Musicale, 29th July 2016


"Musically, Abel is an expert conductor who knows how to measure balances and help the singers… "
Mario Dal Bello, Citta' Nuova, 23rd July 2016


"Brillant was also the musical side. Yves Abel conducts with precision and rhythm."
Giuseppe Pennisi


"Yves Abel conducted with precision and style, without excluding freedom in the use of colors, in line with what was happening on stage"
Opera Actual, September 2016

May 2016

TEATRO LA MAESTRANZA, SEVILLA - “L’Elisir d’Amore”


“The conductor, always faithful to the music score, highlighted in each moment the beauty of this opera... Abel transmitted vitality and pathos...”
Jose’ Antonio Canton, El Mundo, 17th May 2016

April 2016

SAN DIEGO OPERA - “Madama Butterfly”


“From the orchestra, Canadian conductor Yves Abel cultivated a burnished, highly dramatic account of Puccini’s rich score, yet allowed his audience to savor the many moments of its delicate instrumentation that set apart this Puccini opera from its cousins.”
Ken Herman, 18th April 2016



“The San Diego Opera Company with Canadian Yves Abel conducting (to perfection) the San Diego Symphony Orchestra...”
San Diego Examiner



“Under the baton of Canadian conductor Yves Abel, the San Diego Symphony exhibits both power and refinement”
Pat Launer, Times of San Diego, 20th April 2016



“Things get better through time, especially when accompanied by Yves Abel’s consistently exceptional blend of orchestral parlance”
Christie Grimstad, Concertonet, 21st April 2016



“Yves Abel performed Puccini’s score with impressive dramatic qualities... he brought out the immense pathos of Puccini’s score. This Butterfly left many patrons weeping tears of sympathy.”
Maria Nockin, Opera Today, 23rd April 2016


January 2016

ROYAL OPERA HOUSE COVENT GARDEN - “La Traviata”


“Yves Abel is a cut above average as conductor, supporting his singers diligently and getting precision ensemble.”
Richard Fairman, Financial Times, 22nd January 2016

November 2015

NORDWESTDEUTSCHE PHILHARMONIE - Concert

“Yves Abel’ interpretation was full of contrasts, overwhelming... Yves Abel was relying on the pure efficacy of the music, while carefully leading its action. He never lacked passion... This encounter was enchanting...”
Udo Stefan Koehne


July 2015

OPERA DI ROMA A CARACALLA - “Madama Butterfly”


“Maestro Yves Abel offered a masterful performance of the work, very difficult to surpass. His experience as a conductor acclaimed in the most important theaters in the world gave us a genial lesson of vocal accompaniment: his arm breathed with the singers’
fiato in a total and mystic conjunction.
Yves Abel demonstrated an absolute comprehension of Puccini’s psychological and theatrical language as well, involving himself in all the scene rehearsals and explaining to every singer, with humility, the subtleties of the libretto in every single moment of the opera.
The total command of the agogic flexibility was another impressive quality demonstrated by Maestro Yves Abel: the superb control of rubato was particularly evident in the most critical and complicated movements in the opera, like the love scene at the end of the first act, that was simply sublime. On the other hand, the technical difficulty caused by the amplification with microphones was resolved splendidly by the conductor.”
Andreas Selander, Opera World, August 26th 2015


“Al suo debutto a Caracalla il direttore Yves Abel e’ riuscito a mantenere una buona tensione esecutiva, in sintonia con l’orchestra, sempre pronta e duttile nel seguirne le intensioni”
Luca della Libera, Il Messaggero, July 8th, 2015


“Attenta e molto partecipe la lettura di Yves Abel sul podio”
Andre Penna, Il Manofesto, July 22nd, 2015


“La direzione di Yves Abel e’ apparsa misurata e attenta alla vocalita’”
Elisabetta Tommasini, Left, 18th June, 2015


May 2015

NEW NATIONAL THEATRE TOKYO - “La Traviata”


“Today the drama was created more by the Tokyo Philharmonic Orchestra conducted by Yves Abel. The restless society was captured in thrilling tempi while the solitude of Violetta in her dying bed was highlighted through the mad carnival in the last act”
Yamiuri Shimbun, 3rd June 2015


“The Tokyo Philharmonic Orchestra under Yves Abel created an energetic evening of music and the familiar score never felt routine.”
Asashi Shimbun, 1st June 2015

March, 2015

NORDWESTDEUTSCHE PHILHARMONIE - Concert
"A rare Wagner.  An exciting Liszt.  Yves Abel and the NWD Philharmonie impress.
The new principal conductor of the NWD Philharmonie, leads the orchestra with vigor through an incomparable concert evening which the public honors by long lasting applause.”



"Gratifying upbeat.
Yves Abel conducts the orchestra safely, with rhythmic precision and a balanced sound.   All throughout an impressive and gratifying start of the new principal conductor.



 "Almost unworldly in its beauty and everybody is having fun: the conductor, the soloist and the public
The orchestra was in a good mood and so was Yves Abel.    The start of the second song-like theme of the Rhapsody in Blue was fascinating:  Gershwin's rhapsody is not only about big noise and rhythm, but also about deep feelings.” 

February, 2015

NORDWESTDEUTSCHE PHILHARMONIE - Debut Concert
“Musizieren vom Feinsten
Nordwestdeutsche Philharmonie brilliert unter seinem neuen Chef Yves Abel NORDWESTDEUTSCHE PHILHARMONIE
Gütersloh. Ein musikalischer Einstand, der das Herz eines wahren Musikliebhabers höher schlagen lässt: Der Kanadier Yves Abel, seit sechs Wochen Chefdirigent der Nordwestdeutschen Philharmonie, verfügt trotz des jungen Alters über eine beachtliche berufliche Erfahrung, er dirigierte bereits in den großen Opernhäusern von Berlin, Wien, London, oder New York, wo schon Anna Netrebko oder Thomas Hampson unter seinem Dirigat auftraten. Vom "sensiblen Orchesterklang" schwärmen die Kritiker, von seinem handwerklichen und gestalterischen Können ebenso.
Ein luxuriöses Konzertprogramm bot Abel an, mit zwei Orchesterwerken der im Abstand von zwei Jahren geborenen Komponisten Franz Liszt und Richard Wagner, die sich als Schwiegervater und Schwiegersohn auch familiär nahe standen. Der liebsten, frisch angetrauten Frau Cosima, der unehelichen Tochter Liszts, widmete der 57-jährige Wagner aus Anlass ihres 33. Geburtstags das Ständchen "Siegfried-Idyll". Eine Pastellmalerei aus einer von politischen und persönlichen Dramen verschonten Zeit, die Wagner in einem Landhaus in Tribschen am Vierwaldstättersee See verbrachte. Nach der Geburt seines Sohnes Siegfried knüpfte er an musikalische Elemente seiner gleichnamigen Oper an und versah das Stück mit Reminiszenzen an die familiären Begebenheiten.
ANZEIGE

Die NWD Philharmonie wirkte unter dem milden Dirigat von Yves Abel meist wie ein delikates Kammerorchester, das nur mit wenigen ausgiebigeren Steigerungen die romantischen Schwärmereien heraufbeschwor. Ein dezentes, sublimes Musizieren vom Feinsten.
"Nur rastlos betätigt sich der Mann" sagt Faust bei Goethe, was auch den energiegeladenen Yves Abel beim Dirigieren der großen "Faust"-Sinfonie von Franz Liszt durchaus auszeichnete. Weit über das damals Geläufige ging das einstündige Werk, in Gütersloh rein instrumental präsentiert (es gibt auch die Version mit Männerchor und Tenor), und bleibt bis heute, mit scharfen Charakterstudien der Goethe-Protagonisten Faust, Gretchen und Mephistopheles in drei Sätzen, eher ein Geheimtipp für Kenner.
Mit fünf Themen wird das Innenleben von Faust dargestellt: Bratschen und Celli zeichnen seine Zweifel, die Violinen spiegeln seine Wut und den Schmerz wieder, in kurzen Ausrufen der Hörner und Klarinetten äußert sich die Sehnsucht, während die Trompeten seinen Mut und die Kraft ins Bewusstsein rufen. Die Motive sind kunstvoll verknüpft.
Der Zuhörer konnte nur staunen, wie der Dirigent sie stets spannungsgeladen ausarbeitete, sich dabei in der komplizierten Materie selbst wohl fühlte und das Orchester zum perfekten Miteinander und zu virtuosen solistischen Einsätzen animierte. Ein mit Unschuld skizzierter Gretchen-Satz und das groteske Finale, in dem der Teufel als "der Geist, der stets verneint" musikalisch karikiert wurde, komplettierten den bravourösen Auftritt der NWD Philharmonie und ihres neuen charismatischen Chefs.”
Eugenie Kusch, Neue Westfälische, February 17, 2015

“Bad Oeynhausen. Sein Einstand in Bad Oeynhausen war ein überwältigender Erfolg. Denn Yves Abel, der neue Chefdirigent der Nordwestdeutschen Philharmonie überzeugte das Konzertpublikum im Theater im Park nicht nur mit einer ungewöhnlichen Programmauswahl, sondern auch mit einem grandiosen Spiel. Mehrmals mussten sich der in Kanada geborene Dirigent und die Musiker im Anschluss dem Applaus des Publikums stellen. 
Mit Richard Wagners "Siegfried-Idyll" und der "Faust-Sinfonie" in drei Charakterbildern nach Johann Wolfgang von Goethe haben die Herforder zwei sinfonische Raritäten ausgewählt, die selten zu hören sind. Den Auftakt beim Konzert im Theater im Park macht Wagner, für den nur eine kleine Besetzung des Orchesters auf der Bühne erschien. Denn das Siegfried-Idyll hatte der Komponist seiner Frau zum 33. Geburtstag komponiert und das Stück wurde erstmals im Treppenhaus des Ehepaares aufgeführt. Frei nach dem Motto, was Siegfried und Brünnhilde in Wagners Oper können, gilt auch für Richard und Cosima.
Mit großen Fingerspitzengefühl entfaltet das Orchester mit wunderschön verklärten Klangfarben der Streicher die träumerische Musik, die sich luftig in den Zuschauerraum ergießt. Nicht nur der erste Akt der Siegfried-Oper hat hier Pate gestanden, sondern auch ein 1868 komponiertes Wiegenlied. Für einen der Konzertgäste schien gerade dieses Wiegenlied besondere Anziehungskraft auszuüben, denn er stimmte in das fein abgestimmte Spiel des Orchesters mit akzentuiert gesetzten und durchaus selbstbewussten Geräuschen seines entspannten Schlafes ein. Davon unabhängig wurden die mitgerissenen Gäste nach dem Idyll in die Pause entlassen, um sich im Anschluss von der Faust-Sinfonie verwöhnen zu lassen. Das geräumige, 70 Minuten währende Tongemälde geriet in der Interpretation Yves Abel zu einer beeindruckenden Charakterstudie - die Ruhelosigkeit Fausts, die zarte Liebesmusik zu Gretchen und die Expressivität Mephistos gerieten in ihrer musikalischen Dramatik zu einer gigantischen Steigerungswelle.  Bewährt hat sich dabei auch die Entscheidung für die Urfassung der Sinfonie, das dreisätzige Stück ohne den später durch Lizt hinzugefügten Schlusschor mit Tenorsolo zu spielen. Die orchestrale Erstfassung überzeugte auf ganzer Linie. “
Elke Niedringhaus-Haasper, Neue Westfälische, February 23, 2015


February, 2015

METROPOLITAN OPERA - Les Contes d’Hoffmann - Live HD Broadcast


“This was another excellent performance from the Met. ...Yves Abel, a brilliant conductor, conducted with energy and delicacy.” Michael Tanner, The Spectator (UK), February 2, 2015
“When everyone sings at the end ‘Love lends man greatness. Tears make him greater still’ it brought great poignancy to these concluding moments. Complicit in the success of this revival was French-Canadian conductor Yves Abel and the instinctive, exuberant, evocative and idiomatic account of the score he elicited from the always great sounding Met orchestra … especially as here in HD.”
Jim Pritchard, Seen and Heard, February 3, 2015

January, 2015

METROPOLITAN OPERA - Les Contes d’Hoffmann -


“Even with all the scholarly debate over what constitutes an 'authentic' representation of the score, the quirkiness and variety of Offenbach’s music were always evident, and Abel seemed to relish every twist and turn, drawing strong, evocative playing from the orchestra... his direction enriched and enlivened the music, conjuring up dark magic from the pit."
Eric C. Simpson, New York Classical Review, January 15, 2015


"Yves Abel leads the Met orchestra in a stirring reading of Offenbach's score."
Wilborn Hampton, Huffingtonpost, January 14, 2015


"...Yves Abel, who led a graceful, agile orchestral performance..."
Zachary Woolfe, New York Times, January 14, 2015


"Yves Abel’s conducting of the Met’s mix-and-match edition of Offenbach’s score had an energetic dancing quality, and he was alert to Mr. Grigolo’s spontaneous revisions of Offenbach’s rhythms."
James Jorden, New York Observer, January 22, 2015






November 2014

OPERA DE PARIS - Hansel und Gretel -
“Beyond its wagnerian elements, the score contains a wealth of melody characteristic of  German romanticism,  As well as numerous tunes borrowed from its folk tradition. In the pit, under the baton of Yves Abel, the orchestra of the Opera de Paris completely presents that richness of colors, of textures, and of flavors. Yes, I speak about flavors, because, in this show we are in the domain of musical and theatrical gluttony! From this production, on which the wind of the Christmas spirit already blows, one leaves full of joy and energy, humming the beautiful memorized melodies.”
Jean-Marc Piriou, Bachtrack, 22nd November, 2014



“Yves Abel masterfully conducts the Orchestre de l'Opera de Paris.
Hänsel und Gretel triumphs!”
Marie Torrès,
Artistikrezo, 26th November 2014



“Yves Abel, finds the perfect balance between stage and orchestra. Considering the particular of the score, this is not always the case. From the start of the overture, one is taken by the sumptuous and beautiful mystery of the brasses and woodwinds under the Wagnerian blanket of strings. Which then leads to a series of German popular songs.
The orchestra generates an atmosphere of fairy tales, dark and heavy, without losing in vivacity and liveliness! The musicians show a magnificent complicity that translates itself into a performance full of nuances and surprises.”
Sabino Pena Arcia, Classiquenews,
 26th November 2014



“...with the amazing orchestra of the Opera de Paris, Yves Abel creates enchantments, nightmares, and tableaux vivants.”
Quobuz, 19 November 2014


“And overall, with a sumptuous orchestra...and the sensible and nuanced conducting of Yves Abel...’
Francois Lehel, Opera magazine,



September 13, 2014

OPERA DE OVIEDO - Otello -


“One has to say it very clearly and often. The presence, now frequent, of Yves Abel in the pit of the Campoamor Theater, is a luxury.
I think it is significant that his next opera engagements after Oviedo are the Paris Opera and the Metropolitan Opera. The work that Abel realizes with each new lyric appearance is intense and the results impeccable from start to finish.
The quality of the conducting is one of the basic pillars in acquiring the good results we witnessed recently. Contrasting dynamics, Verdian colors, dramatic accents always intense, lyricism in the intimate passages, the capacity to define each role through the accompaniment and a magnificent response and performance from the Oviedo Filarmonia, were the principal characteristics of Abel’s conducting which will remain in one’s memory and which reminds one of the importance of the conductor for each production.
He is, without doubt, the key.”
Cosme Marina, La Nueva Espana, September 13, 2014

March 21, 2014

Yves Abel has been announced as the new chief conductor of the Nordwestdeutsche Philharmonie, based in Herford (Germany). He will take over from Eugene Tzigane and Andris Nelsons starting from january 2015

April 2012

ROYAL OPERA HOUSE - “La fille du regiment”


"Yves Abel, conducting with silky finesse, restores a sense of french delicacy to Donizetti's frothy score"
Neil Fischer, The Times, 21 April 2012

"Yves Abel' s idiomatic conducting is lively and assured"
Graham Rogers, The Stage, 20 April 2012

"...nimbly conducted by Yves Abel"
Rupert Christiansen, The Telegraph, 20 April 2012

"The ROH chorus and orchestra, under conductor Yves Abel, entered the spirit of the opera comique with gusto. Donizetti triumphed"
Agnes Kory, Musical Criticism, 22 April 2012

November 2011

ORCHESTRA HAYDN


"Concerto diretto dalla bacchetta gioiosamente imperiosa di Yves Abel, con orchestra compatta, tesa all'esecuzione precisa, mai sfilacciata, coloratissima di timbri... un Abel misuratissimo seguiva il prezioso svolgersi di una partitura fatta principalmente di delicatezza..."
Emilia Campagna, Il Corriere Musicale, 17 Novembre 2011

November 2010

ORCHESTRA HAYDN DI BOLZANO


"Delius, Faurè, Strauss e Respighi diretta dalla bacchetta gioiosamente imperiosa di Yves Abel. Programma per certi versi leggero ma non troppo,  grazie a una direzione che non indulgeva mai alla retorica più facile: “Summer  night at the river” di Delius era un palpito, affidato prima ai fiati – sezione morbida come nelle migliori serate – poi con discrezione al corpo esteso degli archi: e un Abel misuratissimo seguiva il prezioso svolgersi di una partitura fatta principalmente di delicatezza; così come la delicatezza riservata, l’espressione accorata ma contenuta addomesticavano certi wagnerismi di “The walk to the Paradise Garden” dal “Romeo and Juliet” dello stesso Delius. Dove invece la retorica si sfogava allegramente era la “Boutique Fantasque” di Respighi..."
Emilia Campagna

September 2010

NORDWESTDEUTSCHE PHILARMONIE


"...unter der Leitung des fabelhaften Gastdirigenten Yves Abel"
Matthias Gans, Neue Westfaelische Zeitung, 21 September 2010

"Als Frankokanadier hat Yves Abel eine besondere Affinitaet zum franzoesischen repertoire... Abel begegnete den Werken der beiden so unterschiedlichen Impressionisten mit betonter Sachlichkeit. Er wählte geradezu flotte Tempi, vermied jede unnötige Tempoverschleppung , dirigierte mit sparsamen, kurzen, knappen, Bewegungen und verzichtete auf jegliche Art von Effekthascherei...Doch gerade durch dieses entschlackende Freilegen des absoluten musikalischen Kerns öffnete er die Sicht auf die unendliche Farbigkeit dieser Kompositionen....Herrlich das unendliche Fluten der motivischen Gebilde, der permanente Wechsel der Farben, ihr stetiges Ineinandergreifen und Auseinanderstreben. Das alles dargeboten von einem blendend aufgelegten Orchester, führte zu mitreißenden enden Klangerlebnissen."
Gisbert Hänsel, Neue Westfälische Zeitung, 20 September 2010

August 2010

ROSSINI OPERA FESTIVAL - 'La cenerentola' - 


"Leading the Bologna orchestra, Yves Abel provided the most authoritative conducting thus far on a well-paced performance. If his tempos tested the singers, they were well up to the challenge." 
Carlos Maria Solare, Opera, November 2010 

"Dal podio, Yves Abel dà un contributo decisivo alla brillantezza complessa dello spettacolo con una lettura di notevole profondità e sottigliezza, efficace nella ricerca dei colori (risponde bene l'orchestra del Comunale di Bologna), trascinante nello stacco dei tempi, nervosi ma non precipitosi, raffinata nella sottigliezza di un fraseggio mobile e franto, sempre «pensato».
Compagnia di canto quasi del tutto omogenea ad alto livello."
Cesare Galla, Bresciaoggi, 13 August 2010

"La direzione tersa e divertita di Yves Abel" 
Fabio Vittorini, Il Manifesto, 13 August 2010 

“El canadiense Yves Abel dirigio estupendamente a la orquesta del teatro Comunal de Bolonia...”
Juan Angel Del Campo, El Pais, 13 August 2010

"L'eccellente direttore canadese Yves Abel"
Mario Messinis, Il Gazzettino  15 August 2010

"In the pit, the Orchestra del Teatro Comunale di Bologna responded to Abel’s gestures with verve and sensitivity." 
Leonard Turnevicius, The Hamilton Spectator, 15 August 2010

May 2010

ROYAL OPERA HOUSE - 'La traviata'  


"Conducting, Yves Abel gives the score some French polish, ensuring smooth playing and sympathetic rapport with his singers."
Neil Fisher, The Times, 13 May 2010

"Yves Abel draws playing of sensitivity and verve from the orchestra." 
Andrew Clark, Financial Times, 14 May 2010

"Yves Abel, making his ROH debut, guided the ROH orchestra with finesse"
Melanie Eskenazi, Music OMH, 17 May 2010

"The transition from the prelude to the start of the party was beautifully conducted by Yves Abel, and Act 3 unfolded with impressively gathering weight."
Peter Reed, Opera, July 2010

"Abel kept the evening well-sprung and swift on its toes from the pit, and made some great moments with Gheorghiu: in the juddering, heart-pounding pulse that he set for the dazed finale of Act Two, and in the last act, where the thread of sound that came from her throat alongside the sweet, lonely heedlessness of the violin sounds, as thin and wavering as a candle flame, the gentle valedictory of “Addio del passato”, the gruff grunts of the horns under her dying song, “Se una pudica virgine”, made the tragedy as piercing as it could be. I’m afraid I was in floods."
Ismene Brown, The Arts Desk, 09 July 2010

"Abel's first act prelude and many other incisive touches revealed an instinctive Traviata conductor. "
Martin Kettle, The Guardian, 09 July 2010

"To his credit, Yves Abel, the conductor, sticks to [Gheoghiu] like glue, and there is much to admire about his general pacing."
Richard Morrison, The Times, 09 July 2010 

April 2010

METROPOLITAN OPERA - 'La traviata'  


"Yves Abel showed admirable refinement from the very first bars of the overture"
An Unanmplified Voice, 19 April 2010

February 2010

RTE NATIONAL SYMPHONY ORCHESTRA OF IRELAND 


"I doubt that Fleischmann’s perturbed spirit has ever been communicated with the musical lucidity that Yves Abel brought to it here. His approach was patient and intense, and while the music may not always have harmonic solidity, Abel made the most of its assured gestural strength and slow-burning nature.Abel’s finely shaped approach in Tchaikovsky’s Manfred Symphony…"
Michael Dervan, The Irish Times, 25 February 2010

January 2010

SEATTLE OPERA - 'Il Trovatore'


"Yves Abel is an excellent conductor. He conducted with panache, sympathy and even fire when called upon to do so."
R. M. Cambpell, The Gathering Note, 18 January 2010

"In the orchestra pit, Yves Abel brought out the drama of the surging score and kept a strong sense of forward propulsion without ever pushing the singers too hard. He is an adept accompanist, knowing just how long a given singer is able to hold a given note (or when the singer is likely to run out of breath). The crowd scenes worked well musically, too, a credit to Abel..."
Melinda Bargreen, King FM, 20 January 2010

"With excellent orchestral playing under Yves Abel’s baton..."
Bernard Jacobson, Seen and Heard International Opera Review, 02 February 2010

"Yves Abel's bel canto approach to this frequently over-driven score was refreshingly poetic…"
Theodore Deacon, Opera, June 2010

December 2009

WIENER STAATSOPER – ‘Simon Boccanegra'


"The dramatic finale was boldly conducted by Yves Abel and precisely realised by the orchestra"
Daniel Wagner, Wiener Zeitung, 10 December 2009

"So geschehen an der Weiner Staatsoper bei Verdis Simon Boccanegra mit einem engagierten Yves Abel am Pult des homogenen Orchesters, das von zart bis mächtig alle Nuancen bereithielt."
Kurier-Wertung, December 2009

"Conductor Yves Abel provided a strong orchestral underpinning"
George Jahn, San Francsico Chronicle, 12 December 2009 

November 2009

WIENER STAATSOPER –‘Un ballo in maschera’


"Yves Abel brachte nicht nur Verve, sondern vor allem pointierte Dramatik zustande, die oben auf der Bühne großteils ihre Entsprechung fanden"
Markus Hennerfeind, Wiener Zeitung, 26 November 2009

"Sehr erfreulich klang es zum größten Teil aus dem Orchester unter Yves Abel der am Pult stand."
Elena Haberman, Der Neue Merker, 29 November 2009

March 2009

DEUTSCHE OPER, BERLIN – 'Carmen'  


"Musically, this evening will remain in one's memory as a triumph of sensitivity. From the podium of the Deutsche Oper Orchestra Yves Abel produces astonishing results from the podium of the Deutsche Oper Orchestra. In his interpretation Abel spins and underpins a fundamental idea: Throughout this Carmen streams a flowing and fluctuating fantasia-like breath of wind as he allows everything to be delicate and pliable."
Jürgen Otten, Frankfurter Rundschau 13 March 2009

"With well-placed sparkle, the conductor, Yves Abel, shows an acute understanding of the complexities of "opera comique": entertainment, intelligence, luminosity."
Klaus Geitel, Berliner Morgenpost, 10 March 2009

"Yves Abel conducts the buoyant orchestra of the Deutsche Oper with an en emphasis on fresh colours and light rhythms." 
Peter Uehling, Berliner Zeitung 10 March 2009 

"Listening is well rewarded as the conductor, Yves Abel, succeeds in making a case for the intellectual beauty of opéra comique. Apart from the famous, racy numbers... Georges Bizet is also a master of diaphonous Divertissements, delicate communication and luminous orchestral interludes."
Frederik Hanssen, Der Tagesspiegel, 10 March 2009

December 2008

ORCHESTRE NATIONAL DU CAPITOL


"Yves Abel obtient de l’orchestre les fluctuations et le raffinement sonores exigés par cette belle page [Delius The Walk to the Paradise Garden]. Yves Abel semble ici comme un poisson dans l’eau et dirige le flux musical avec la souplesse et l’énergie exactement requises [Elgar Sea Pictures]."
Maurice Salles, Forum Opera, 16 December 2008

October 2008

WIENER STAATSOPER – 'Simon Boccanegra' – 


"Der Dirigent Yves Abel muss daran hart gearbeitet haben und sei dafür hoch gelobt. Zwar wartete man vergeblich auf diffizile Herausarbeitungen und frappierende Interpretationen der Partitur aber das Gesamtergebnis war ein handfest durchgezogener Opernabend – ein guter Repertoireabend eben."
Odo Aberham, Der Neue Merker, 02 October 2008

"Yves Abel am Pult unterstuetzt Steins ausgefeilte Regie am Pult und animiert das Staatsopernorchester zu imponierend differenziertem Spiel."
Florian Krenstetter, Kultur, 19 September 2008