...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 [...]
...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 [...]
...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" ...
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 [...]
...A successful start to the season at the Kammeroper. […] Joji Hattori is able to translate the tragic ambivalence of the text into music and uses every chance to turn the partly static libretto into a dynamic performance...
...Finally! After a long period the Kammeroper in Vienna managed to put on a production which fulfils its purpose to present new talent. In "La Finta Giardiniera", an early work by Mozart, a really solid and convincing project has been created; its success was primarily due to the conductor Joji Hattori. […] The conductor Joji Hattori, who has entered the world of musical theatre with this production, demonstrated Mozart's mastery of the musical characterization in this work with all [...]
...Are you aware of the Kammeroper? It could well be worth a visit to a performance there as it has succeeded in presenting a really musically respectable production. As soon as initial premiere nerves were out of the way, one was able to hear the conductor Joji Hattori (debut at the Kammeroper) achieve a remarkably compact ensemble. He charmed a graceful sound out of the little pit, adding well sprung accents and creating phrases always in accordance with the [...]
...Joji Hattori conducting the capable ensemble managed to shape out the orchestral parts well and with care: as a skilled violinist he was able to lead the string players in particular to a combination of lightness and beauty of sound, although the various solos played by the oboe, bassoon and horns were by no means less satisfying. All his tempi were chosen with great sensibility and the vocal ensembles were well prepared - a successful debut!... [...]
Impressive Quality ...Joji Hattori succeeded in creating a very effective start to the concert with the Vienna Chamber Orchestra. […] Hattori, conducting the VCO, was visibly excited and was - as a prominent violinist himself - most capable in his accompaniment. In Haydn's Symphony No.61 in D Major, he could become the "soloist" himself. And he did this with real excellence, passion and great tension. The orchestra scored with alertness, enthusiasm and a brilliant Prestissimo-Finale...
The Vienna Symphony Orchestra in the Konzerthaus Vienna – Some have called Brahms´ work the “concerto against the violin” and others a “symphony with obligatory violin”. Whatever the case, Joji Hattori played Brahms´ challenging piece with boldness and with the use of all his energy (not to mention all the hair on his bow!). Above all it was the “Viennese” passages in the third movement – played by Hattori with such spring and bounce that arsis became thesis - [...]