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„I am writing to you today with a request on behalf of the Austrian conductor Fritz Pfeiffer, whom I estimate very highly and who conducted in the Vienna State Opera under me and is currently the most important guest conductor at the State Opera of Chișinău.“

– Ioan Holender

 

Aida Aufführung in Bukarest

„…die musikalische Leitung gehörte dem österreichischen Gastdirigenten Friedrich Pfeiffer. Seine frühere Tätigkeit als Hornist der Wiener Philharmoniker bescheinigt ihm, ein Musiker von hohem Kaliber zu sein.
Als Operndirigent manifestiert er die Kenntniss, die er in dem Orchester erfahren hat. Man fühlt die Tatsache, dass er sich aufmerksam bemüht um den Verdi-Stil und die Realisierung einer orchestralen Kohesion.
Ohne Zweifel ist er ein seriöser Musiker in dem bestreben, einen anderen Weg seiner Kreativität zu finden als bisher, jenen des Dirigenten.
Dank dieses wertvollen Künstlers als Gast, ist ihm der Erfolg unbenommen…“

– Mihai-Alexandru Canciovici, Plai strabun 36 2014 – Magazin pentru românii din lumea întreag

Friedrich Pfeiffer – I am only a guest in this country

The last two works of the National Opera House, Requiem Mass and opera Rigoletto by G. Verdi, led by the Austrian conductor Friedrich Pfeiffer, have made a great
impression on local audience. It was unanimously recognized as the best performance ever expected.

Pfeiffer and the National Opera House

Austria delivers quality. Vienna possesses its own highest musical level that is universally recognized and, therefore, expected. Friedrich Pfeiffer proved it, once again, with brilliancy and precision. But it should also be said that Friedrich Pfeiffer’s artistic individuality and professionalism represent contemporary Austrian music culture in a unique way, as well. There are some musicians that try to please audience, the ones that seek fame for self-portrayal purpose only, and who adore self – manifestation in Musical Arts more, than anything. The other artists – talented professionals, adherent devotees of hard work – are comfortable and great to work with, and it is these people that leave an unforgettable impression and impact on both colleagues and listeners by their professional vocation.

Friedrich Pfeiffer belongs to the second group – he is both serious and impressive professional, the one that gives all his strength to work and to people that he leads during his performances.
This is why Maestro Pfeiffer gave six performances in Moldova for the past two years.

„…Maestro Pfeiffer was capable to intrigue Moldavian audience in opera „Nabucco“ at the festival „Invitation from Maria Bieshu“ in 2011, – comments National Opera House Valeria Sheikanu . He was very effective and cogent by overcoming the static nature of the play, and by shedding new lights on its dramatic composition. Maestro Pfeiffer brilliantly interpreted the score of the opera „Manon“ by J.Massne at the M.Bieshu festival in 2012. In Spring 2012, Friedrich successfully conducted „Don Giovanni“ by W.A.Mozart. At the beginning of this year, he presented „Aida“ in Moldova. And in the second quarter of May 2013, Friedrich won music lovers with tremendous performance of „Requiem“ by G.Verdi that was dedicated to commemoration of Mariia Lukianovna Bieshu. Maestro Pfieffer also did a great job on conducting the „Rigoletto“ opera that was dedicated to the 70th Birthday of Moldova People’s Artist Vladimir Dragosh.“

„…We are so fortuned to have Pfeiffer! – emphasized Baritone V. Dragosh – Among all the conductors that I have been privileged to work with at the National Opera House, he is the best one. He is very clear and thoughtful about all aspects of his craft, including nuances, articulation, dynamics, and dramatic composition. Friedrich is highly motivated – regardless of the country, working conditions, or theater’s potentials. He is always on top of things, and keeps himself in extremely concentrated form.“

„Arrival of such a reputable musician to our theater is a unique event – underlines conductor Marin Balan.- I have been present at all of his performances, and – at the rehearsals, as well. We all
greatly benefited from these recitals and working sessions. Pfeiffer is an excellent, willful conductor, who knows precisely – as he described it himself – what he wants from colleagues, from the
first to the last measure. He sticks to his concept firmly, resiliently, and leads the chorus, soloists, and orchestra with both precision and confidence. In Verdi’s Requiem, I felted seamless knit of German rationalism, certainty, account, and considering. I was stricken by Pfeiffer ’s asceticism and aloofness during his performance of the pathos-Italian masterpiece, but this is sacred music, after all, and, so, his restrain seems to be well explained and appropriate.“

„I have sang four times with Pfeiffer, – admits Bass Vitalij Chiresh‘- His level of „Nabucco“, „Rigoletto“, „Manon“, and „Don Giovanni“ performances elevate him to the elite of the high caliber professionals.“ „Friedrich Pfeiffer is very comfortable to work with, – notes Soprano Lilia Sholomej. – I’ve witnessed it first during the rehearsal sessions; thank to the conductor, I was able to perform parts of Gilda and Zerlina with special easiness. Friedrich’s approach feels mathematically adjusted and effortless, which gives an immediate result on stage.“

Vienna, Verdi and Kishinev

The stage performance of Verdi’s Requiem at the National Opera House became the most impressive event in May 2013. The soloists and choir of the National Opera House were additionally supported by reinforced theatre’s orchestra and choir ensemble „Doina“. Verdi’s multidimensional dramatic work is characterized by incredible might, force, and by colossal energy. One feels
himself/herself anything but significant – as though one matters not at all – when being opposed by two choirs and double-numbered orchestra. Poor soloists – they were supposed to withstand such a mighty, thundering force! They all sang beautifully! Let me call them by their names: Soprano Rodika Pichirianu, Mezzo-Soprano Natalia Gavrilan, Tenor Igor Tcurkan, and Bass
Valeriu Kozhokaru. Verdi’s Requiem is a very threatening spectacle. It feels like a mighty grayish – shaggy tsunamisoared upward, and is just about to plunge down with all its force on one’s poor head. This masterpiece fills its listener with trepidation, as it refers not only to deep realms of individual existence, but – to the mystery of human life that is inseparable from the Creation,
as well. The gentle soloists pacify the Great Monster for a while, and it retreats a bit…for the moment …And, then, it returns with a threat again, and – growls and crushes! The Beauty and Horror
of all of it is just incredible – God shines in Glory, and men is being hit hard over the ground, and still remains captivated here, on Earth. But the might of the Requiem opens the doors to the new worlds‘ realities, as it unveils the Polyphony of Heavenly Forces. Where G. Verdi aims at? We do not know it for sure, but in his Requiem the composer himself deserves to be worshiped…

– Music critic Elena Uzun, Chisinau