“Vanity seems foreign to the young maestro‘s nature. This musician is the exact opposite of those black-clad demigods who trigger the human awe reflex with all their hair gel, transfigured facial expressions and auras of genius. […] He explains, recounts, using body and baton, and very quickly gets the ensemble to the point where he wishes it to be. […] Radulescu has a rhethoric talent which, in an imaginative and image-rich way, makes the musicians relate to the compositions so well that they […] reach peak form.”
(Elisa Gregor, Wiener Zeitung / Wiener Journal)
What distinguishes Nicolas so very specially is the downright ideal balance between sensitive artist through and through—and, at the same time, highly intelligent theoretician who questions everything he then implements as a conductor.
“The KUG orchestra was at its best under the baton of […] Nicolas Radulescu, whose conducting was based upon profound technique and high musical understanding.”
(Clemens Anton Klug, Kleine Zeitung; on the performance of Messiaen’s L’Ascension)
“Nicolas Radulescu enjoyed César Franck‘s D minor symphony as much as the orchestra of the Music University, which was led to him to an expressive climax with a richness of gestures—one should take note of this young maestro.”
(Clemens Anton Klug, Kleine Zeitung)
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