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So far irina has created 16 blog entries.



January 2017

1st January 2017
New Year’s Concert, Auditorium de Palma, Palma de Mallorca, Spain

2nd January 2017
New Year’s Concert, Auditori de Manacor, Manacor, Spain

February 2017

1st February 2017
Balearic Symphony Orchestra with Khatia Buniatishviki, Paris, France
Mendelssohn-Bartholdy, Tchaikovsky

25th February 2017
Lauenen Chamber Concerts, Lauenen Church, Lauenen, Switzerlan
Strauss, Boccherini, Tchaikovsky

April 2017

27th April 2017
Palma de Mallorca Auditorium, Balearic Symphony Orchestra, Soloist Gautier Capucon

May 2017

25th May 2017
Palma de Mallorca Auditorium, Balearic Symphony Orchestra, Soloist Kate Lindsey

26th May 2017
Menorca Ciutadella Eglesia dels Socors , Balearic Symphony Orchestra, Soloist Kate Lindsey


Kronen Zeitung 24th July 2010

…Having started life as a festival focussed on musicals, the Sommerfestival Kittsee successfully changed course in 2009. This year, the intendant duo Peter and Christian Buchmann are presenting Heinrich Berthe´s musical comedy Dreimäderlhaus in the atmospheric courtyard in front of the baroque castle. A hit! (…) They have found a powerful and energetic conductor partner in the shape of Joji Hattori who magnificently highlights and then sweetly merges Berthe´s arrangements of Schubert´s melodies…


Kronen Zeitung 18th July 2010

…The shift from musical to operetta has been masterfully achieved at Schloss Kittsee. Joji Hattori leads the Capella Istropolitana Orchestra and the Kittsee Festival Chorus with a great sense of operetta, taste and tempo, confirming that Hattori can be highly recommended as a conductor of not only opera but also of operetta…


Wiener Zeitung 26th June 2009

…It is sometimes interesting to take a look at not only the highlights but also at the so-called “repertoire” of the State Opera season. One such example was the 89th performance of Marco Arturo Marelli´s magically colourful and extremely humorous production of the “Magic Flute” which marked the State Opera debut of the Japanese conductor Joji Hattori. The prize-winning violinist has already shown his affinity with Mozart in Vienna through his work with the Wiener Kammeroper. In this production, he again employs his very own spirited and energetic approach in order to bring us his somewhat different, richly dynamic and agogic interpretation of Mozart…


Thüringer Allgemeine 3rd March 2008

…A combination of grace and devotion ensured that the seventh Symphony Concert of the Erfurt Philharmonic Orchestra was enthusiastically received by the public.(…) One can only find good things to say about the performance of Gioachino Rossini´s Strabat Mater, a piece in several movements with a hint of the operatic but a weak denouement. The orchestra played enthusiastically under a highly engaged Joji Hattori, with exemplary instrumental flair being demonstrated by, amongst others, sensitive horns, full-bodied strings and a male choir of well balanced trumpets…


Lynn News 31 July 2007

…The Philharmonia is regarded as one of the world’s great orchestras and arguably this country’s finest. This was evidenced in the richness of tone in the first few bars played. Throughout, Japanese conductor Joji Hattori drew from his forces disciplined playing with strict observance of dynamics and tempi. Rossini’s overture to The Barber of Seville opened the evening. He simply took this one „off the shelf“ and substituted it. It has been a great favourite ever since. Hattori took it at a crisp pace with each orchestral section contributing to the vivacious spirit of the work. Saturday’s final work on the programme, Tchaikovsky’s Symphony No 6 in B minor – Pathetique, is the musical outpouring of an emotionally-disturbed genius. Wisely Hattori did not wallow in the many emotional passages, but nevertheless brought out all the drama of the work. Such was the impact of the penultimate movement that the audience released its knotted up tension with a spontaneous round of applause. After the finale another resounding ovation demonstrated how we, in Norfolk, show our appreciation of a great performance…


Eastern Daily Press 30 July 2007

…Tchaikovsky’s Symphony No 6 with the Pathetique sombre opening (yes, the Philharmonia can do this too) showed the orchestra’s melodic heart was on its sleeve and with fluid, energetic conducting – sometimes just a shrug of the shoulders – there was an exciting build-up to the third movement’s march with string strength and bright brass inducing premature applause. But this happiness returned to the darker mood as they wrung out the emotion and one could sense them breathing the music’s pain…


Chichester Observer July 2007

…From the very first notes of Beethoven’s Symphony No 7 in a major the scene was set and the excitement began. Under the firm director of Joji Hattori, the first movement positively bounded along enthralling the packed Cathedral audience. The second movement allegretto in a minor key was taken at a slower pace producing a majestic and haunting interlude in this otherwise fast moving symphony. Returning to a major key, the orchestra leapt into a much faster speed for the absolutely marvellous scherzo with dramatic horn playing and melodious strings, the orchestra moved to a thunderous and spontaneous climax. The tremendous vitality and breathtaking urgency of the Philharmonia’s music was in my mind for hours afterwards…


Augsburger Allgemeine 7 May 2005

…As conductor Hattori leads the Vienna Chamber Orchestra to a firm, vivid sound which is full of expressiveness. This became all the more precious and significant in Joseph Haydn’s Symphony No.60 in C major „Il distratto“ …


The Performing Arts Journal 25 March 2005

Supple Music-Making by the Conductor Joji Hattori

…Sometimes we encounter a staging which „defies expectation“ in the positive sense. On such occasion, there are new discoveries in the performed work as well as the performers. The production of Zazà at the Pit Theatre of the New National Theatre, Tokyo, revealed the theatrical talent of Leoncavallo, generally known as the composer of Pagliacci, who vividly depicted the life and love of the people involved in the stage, and furthermore, Joji Hattori, making his opera debut in Japan […] In particular, the conductor Joji Hattori deserves special mention. Although his foray into opera is relatively recent, his supple ability to create the music with the singers is unrivalled in the young generation of Japanese conductors. In spite of having to conduct at the back of the stage without seeing the singers, his firm grasp of the libretto helped him to overcome such limitations…