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At the end came a Clarinet Concerto (Op. 5) by
Bernhard Crusell (1775-1838), a Finnishborn, Swedish-based clarinet virtuoso.
This concerto revealed Crusell to have been a considerable talent within the
borderline Classical-Romantic style of his time. And Håkan Rosengren, a Swedish
clarinetist, delivered a most convincing account of the solo part.
New York Times |
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Rosengren combines a facile virtuosity with a sensitive
musicality that permits him to reinvent his performance each evening [in Weber’s
First Concerto].
24 Heures, Lausanne, Switzerland |
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One and a half year ago it [Nielsen’s Concerto]
was performed in the Berlin Schauspielhaus by clarinetist Sabine Meyer; she emphasized
the brooding and lightly furious, modern gestures of the piece. The no less superb
Håkan Rosengren found just as precisely the temperamental and fickle musical
spirit [of Nielsen’s Concerto]. With his sensitive, lingering, colorful tone,
and with his magical, light technique, he brought everything under one large
singing arch of expression.
Neue Zeit, Berlin |
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Håkan Rosengren plays with his whole body and is,
both physically and spiritually, one with his instrument. With a temperament
verging on savagery he brought out the madness shown by Nielsen in the clarinet.
I can hardly remember hearing such a brilliant performance of this mind-blowingly
difficult concerto.
Svenska Dagbladet, Stockholm |
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One of the highlights of the Sunday fixture was
Håkan Rosengren’s superb playing in the Werner Wolf Glaser Clarinet Concertino.
Belfast Telegraph |
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Rosengren rounded out the evening displaying wizardry
in Carl Maria von Weber’s Concerto no. 1 in f minor.
The Odessa American, Midland-Odessa, Texas |
An outstanding soloist, clarinetist Håkan Rosengren
brought elegant style and impressive technique to the Crusell Concerto.
San Antonio News Press, Texas |
It wouldn't take much arm-twisting to make a listener
concentrate on Rosengren's extraordinary musicianship. Rosengren plays with terrific
presence. His tone pops out with a remarkable pinging quality, and he supports
it so sturdily that the lines just flow, regardless of what register he is in
or crossing into. Rosengren picked up on the autumnal quality of the Crusell's
slow movement. It would be a coup for the orchestra to lure back this charismatic
player for another engagement.
Akron Beacon Journal, Ohio |
Mozart’s Clarinet Concerto was interpreted magnificently
by Håkan Rosengren.
Jydske Tidende, Sönderborg, Denmark |
Rosengren’s technical mastery of his instrument
provided the channel for a profound emotional experience.
Hufvudstabladet, Helsinki |
Mr. Rosengren is a phenomenal virtuoso; he makes
his instrument speak with an almost human voice. For his playing in Rossini and
Crusell, he received ovations that never wanted to stop.
Dagens Nyheter, Stockholm |
Håkan Rosengren was soloist in two works for clarinet
and orchestra, Rossini’s “Introduction, theme and variations” and the Opus 5
Clarinet Concerto by Finland’s first composer with an international reputation,
Bernhard Crusell. This 1817 work is a true masterpiece on the level of the Weber
concertos written at the same time – good musical thought is in perfect balance
with fun virtuostic demands. Rosengren’s full-toned, dazzling playing could not
be faulted.
New York Daily News |
Every phrase, every detail lived through him word-for-word
in his mind with precise articulation and convincing expression.
Vecernik, Bratislava, Slovakia |
The greatest experience of the concert was given
by the clarinet soloist Håkan Rosengren. Rosengren is in the deepest sense a
natural musician, intensely engaged in everything he does, and has an extremely
wide dynamic range complemented with flawless technique.
Gothenburg Post |
Rosengren made the most of what may be Mozart's
most beautiful concerto. Producing a rich, eloquent tone, he played lucidly and
intelligently, particularly achieving a supernal grace in the slow, almost inexpressibly
tender second movement.
Savannah Morning News |
Rosengren has an immediately memorable musical
personality. His technique is excellent, his tone is beautiful and he draws a
great variety of color from the instrument.
New York Times |
The music was sweet, the performance delectable
– the audience ate it up. So effortless was the artistry that the musicians seemed
to enjoy performing the concert as much as the crowd loved listening to it. Rosengren,
an internationally renowned Swedish musician, played with velvety tone, flawless
technique and warm temperament. In lighthearted pieces, his clarinet sparkled.
In romantic works, it sang like a human voice of exceptional subtlety and range.
Cleveland Plain Dealer |
It is great fun to discover a musician whose virtuosity
is matched by his artistry. The pleasure is even greater when the performer selects
a program as varied and provocative as the one clarinetist Håkan Rosengren assembled
at the Ambassador Auditorium.
Los Angeles Times |
Here was a man who loved performing, communicating
his insights with freshness, commitment and tremendous affection. Rosengren’s
is the sort of talent that needs to be heard if only to remind us all that technique
is not the end-all of playing – to remind us that without that extra spark, all
those notes can become an empty musical experience.
Christian Science Monitor |
Rosengren was so much at one with his instrument,
united by the airflow, that every note emerging from the clarinet seemed to go
through him first. His playing is impeccable, in that his self-expression is
unimpeded by any limitations of technique. And “himself” is a very musical self
indeed.
Hufvudstabladet, Helsinki |
Their performance stemmed out of a perfect understanding
of the pieces and an earnest commitment to the music.
Auditorium, Seoul, South Korea |
Rosengren is an artist who treats his instrument
as if it were the voice. In slow movements of pieces, he emphasizes long, singing,
wonderfully-phrased lines with a golden tone, and counterbalances that with immaculate
control and virtuosity in bravura passages. In its 12 years, Ambassador International
Cultural Foundation’s Gold Medal series has introduced a number of artists who
have gone on to major careers, including soprano Aprile Millo, violinist Nadja
Salerno-Sonnenberg and baritone Thomas Hampson. Based on his recital Monday night
you can add the name of Håkan Rosengren to that list.
Pasadena Star, Los Angeles |
There was some lovely phrasing from the winds,
particularly clarinetist Håkan Rosengren.
Santa Fe Journal, New Mexico |
A beautifully executed afternoon recital. Rosengren
cast a spell.
Columbus Dispatch, Columbus, Ohio |
There is no distance between the man and the clarinet.
The tone seems to be produced from within his soul. The engagement is total.
Rosengren has no limits, neither in technique nor in expression. The visionary
musicality gives the playing its final touch and transforms ability and knowledge
into art.
Politiken, Copenhagen |
The Esperia Foundation presented the astounding
Swedish clarinetist, Håkan Rosengren, in a recital that was a revelation. In
Rosengren’s hands, the instrument stands vindicated from earlier abuse. Rosengren
is more than a master technician, he is an intellectual’s intellectual.
Santa Barbara News Press, California |
Rosengren demonstrated his astounding ability
as a technician and performer. Anne Epperson provided excellent accompaniment.
From the outset of Robert Schumann's "Phantasiestücke," Rosengren and
Epperson proved they were in it together, and at no point did they deviate from
this plan.
The Orange County Register |
The highlight of the evening was Brahms’ Clarinet
Quintet which, with Rosengren’s exceptionally sensitively nuanced playing, became
one of the best Brahms interpretations I have heard in a long time.
Svenska Dagbladet, Stockholm |
Rosengren’s musicality did not seem subject to
comings and goings; it informed everything he did, and made one listen intently
to each piece. He phrases like a good singer, knowing, for instance, how to diminish
and linger just a delicious bit as the accompanimental harmony shifts under him.
New York Times |
