Amanda Forsyth

Cellist

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Music as the language of love for Pinchas Zukerman and Amanda Forsyth /June 12, 2015 by Amanda Forsyth

Music as the language of love for
Pinchas Zukerman and Amanda Forsyth

Music as the language of love for Pinchas Zukerman and Amanda Forsyth.png



Source: https://www.cbc.ca/amp/1.3111646
  Tags: CBC RADIO
← And so the final curtain: Forsyth takes a bow as a soloist with NACO An Interview with Amanda Forsyth →

Featured Posts

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The STRAD Magazine Feature: Sentimental Work by Amanda Forsyth
June 3, 2022
The STRAD Magazine Feature: Sentimental Work by Amanda Forsyth
June 3, 2022

“I was a big opera buff when I was growing up. I had a huge music collection and it was mostly all opera; I loved the stories and the dramatic arias, which I used to practise on the cello. For me it was all about the sentimentality, and I also loved Romantic works for the same reason. I was eleven years old when I first heard Strauss’s Don Quixote: Pierre Fournier was performing with the Edmonton Symphony Orchestra and I fell in love with it. When I started learning it myself, it became the piece that helped me understand it was OK to be emotional about instrumental music. Before that, I was simply improving my technique – I even felt embarrassed about my emotions while I was playing! I lived more through vocal pieces than anything instrumental, and when I had a choice I’d always go for the more vocal-sounding work. Even now, I get goosebumps when I’m playing Don Quixote live on stage, and I have to tell myself, ‘Focus! Focus!’ as if it’s wrong.”

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June 3, 2022
duo.jpg
March 24, 2022
Texas Classical Review: Zukerman & Forsyth bring charm to light
March 24, 2022

'“Forsyth’s performance was comparable, drawing a lush, hall-filling sound from her Testore cello. Offenbach, a cellist himself, wrote skillfully for the instrument, with a surefooted sense of line and a deep understanding of technique. Forsyth made the most of the possibilities of the piece, with thoughtful phrasing, flawless intonation, and a just-right vibrato that coalesced into a moving, musical whole…

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March 24, 2022
Boston Symphony Orchestra keeps it nostalgic with Avner Dorman premiere at Tanglewood
August 5, 2019
THE BOSTON GLOBE
Boston Symphony Orchestra keeps it nostalgic with Avner Dorman premiere at Tanglewood
August 5, 2019
THE BOSTON GLOBE

Guest conductor Asher Fisch, who led the BSO on Saturday evening, has long been a champion of Dorman’s work. This busy and ultimately conservative Double Concerto was a star vehicle for its soloists: the married duo of violinist Pinchas Zukerman and cellist Amanda Forsyth, longtime partners in both performance and life. With her robust timbre and earthy accents set against his silvery sound, which was ethereal without being silky, they played with obvious relish, and sounded more at ease with the piece than the orchestra did. After intermission, Zukerman again joined the BSO for Beethoven’s stately Romance No. 1 in G, dispatching tart and tight phrases with a few sour notes.

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August 5, 2019
THE BOSTON GLOBE
Israeli composer’s new double concerto is a gift to Zukerman — and the world
August 3, 2019
The Times of Israel
Israeli composer’s new double concerto is a gift to Zukerman — and the world
August 3, 2019
The Times of Israel

BOSTON — For renowned violinist Pinchas Zukerman’s 70th birthday, the world has been gifted a new piece of music.

“The Double Concerto for Violin and Cello and Orchestra,” composed by fellow Israeli Avner Dorman, will have its US debut on Saturday, August 3, at Tanglewood. It will be performed  by the Boston Symphony Orchestra (BSO) under the baton of Israeli conductor Asher Fisch.

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August 3, 2019
The Times of Israel
PREVIEW: Zukerman, Forsyth to play Dorman Aug. 3 at Tanglewood
July 31, 2019
THE BERKSHIRE EDGE
PREVIEW: Zukerman, Forsyth to play Dorman Aug. 3 at Tanglewood
July 31, 2019
THE BERKSHIRE EDGE

Lenox — Violinist and conductor Pinchas Zukerman‘s relationship with the Boston Symphony Orchestra began in 1969 at Tanglewood with a performance of Tchaikovsky’s Concerto for Violin in D Major. On Saturday, Aug. 3, he will make his 23rd Tanglewood appearance, joined by his wife, cellist Amanda Forsyth, performing, for starters, Beethoven’s Romance No. 1 in G for violin and orchestra. But the weightiest event of Saturday’s concert is the American premiere of Avner Dorman‘s Double Concerto for violin, cello and orchestra.

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July 31, 2019
THE BERKSHIRE EDGE
Review: ASO's Winter Fire
July 1, 2019
IN DAILY
Review: ASO's Winter Fire
July 1, 2019
IN DAILY

Very different fare arrived with the world premiere of Avner Dorman’s “Double Concerto”, in which the temperaments of solo violin and cello were deliberately pitted against and then harmonised with the rest of the orchestra. Benjamin Northey steered brilliant performances by Zukerman on violin and Amanda Forsyth on cello. For the record, Zukerman was all in black and Forsyth in a fiery Chinese red dress, a contrast that added a bit more theatre to moments when their instruments spoke quite differently with each other and the orchestra.

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July 1, 2019
IN DAILY
Master Series 4: Winter Fire
June 28, 2019
THE BAREFOOT REVIEW
Master Series 4: Winter Fire
June 28, 2019
THE BAREFOOT REVIEW

Pinchas Zukerman on violin and Amanda Forsyth on cello know each other very well on a range of levels, and their understanding of what makes each other ‘tick’ was especially evident in tonight’s incisive performance. It was a delight to see their superlative musicianship in action, both separately and as a partnership. They fed off each other and the whole was greater than the sum of their individual parts. Dorman was sitting in the audience and his appreciation of Zukerman and Forsyth’s musicality was abundantly clear. Although Dorman knows his own score inside out, he surely would have gained deeper insights into his own creation because of the adeptness and acuity of Zukerman and Forsyth’s performance.

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June 28, 2019
THE BAREFOOT REVIEW
Ailing Mehta Returns to Give Strong Brahms Performances
January 11, 2019
CLASSICAL VOICE
Ailing Mehta Returns to Give Strong Brahms Performances
January 11, 2019
CLASSICAL VOICE

Cellist Amanda Forsyth joined Zukerman in a very fine reading of the Double Concerto. Even more than her partner, Ms. Forsyth displayed a marvelous air of spontaneity, seeming to inhabit the music as she played it. Together, they put their considerable chamber-music experience to great use in Brahms’ final orchestral work. The playing showed a wide range of color, not only from the two soloists, but also from the orchestra.

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January 11, 2019
CLASSICAL VOICE
Zubin Mehta, now L.A. Phil conductor emeritus, lets the soul flow out of Brahms
January 6, 2019
THE LOS ANGELES TIMES
Zubin Mehta, now L.A. Phil conductor emeritus, lets the soul flow out of Brahms
January 6, 2019
THE LOS ANGELES TIMES

As far as the concertos were concerned, Mehta proved a mensch, putting his soloists first. Violinist Pinchas Zukerman was slow to warm up Thursday in the Violin Concerto, with nuance coming more easily than tone quality. He was joined by the impressive cellist Amanda Forsyth on Saturday for a dramatic reading of the Double Concerto, which proceeded the Fourth Symphony.

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January 6, 2019
THE LOS ANGELES TIMES
Zubin Mehta & Israel Philharmonic – The Mumbai Concerts – with Forsyth, Matsuev, Zukerman [Accentus; DVD]
January 1, 2019
CLASSICAL SOURCE
Zubin Mehta & Israel Philharmonic – The Mumbai Concerts – with Forsyth, Matsuev, Zukerman [Accentus; DVD]
January 1, 2019
CLASSICAL SOURCE

The three Concertos, conducted from memory, are a bag of mixed chemistries. Zuckerman's autumnal Beethoven does everything right, yet in its meditation and carefulness loses energy, sounding more held back than others sharing its (relatively quick) forty-five-minute span. The fire burns low. In the Brahms Double (playing from music) he's joined by his South African-born Canadian wife Amanda Forsyth, a latter-day protégé of William Pleeth. Musically (and visually) it's an oddly old-fashioned encounter, neither protagonist entirely comfortable with each other or the nature of Brahms's duo writing, Mehta driving a forceful, even belligerent, account in between.

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January 1, 2019
CLASSICAL SOURCE

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