...The oneiric and enthralling Orchestra of the Conservatorio on the 25th of April. The concert closed with Dvorak's New World Symphony, masterpiece of instrumentation in which the orchestra committed itself with passion, guided with great efficacy by Gilberto Serembe, bravo and solid with a clear gesture, who gave every attack, knew how to "concertare" and how to keep the right and proportionate tempos and carried us away in his vision of the work. Serembe, though underlining the thematical contributions and the expressive ideas tied to the "American" world of Dvorak's last Symphony, emphasized their essence with a great display of colours, uncovered the profoundly slavic nature of the author inherent in the dance rhythms, in the melodic echoes, but above all in his desperation, in the sense of eradication. Serembe dragged the orchestra into Dvorak's nostalgia for his world, intended in a Brahmsian way, but also in that of Tchaikowsky. Very long applauses at the end.

Fulvia Conter (Il Giornale di Brescia)

...An Arousing Fourth. Gilberto Serembe guided the orchestra with authority and knowledge, with the strength of his passionate temperament, with the always clear gesture and the always more expanded and mature musicality that distinguishes him. Another fundamental characteristic in Serembe is the rhythmic grip and his choice, in this case, of flowing tempos, only lyrically ecstatic when, miracuously, in the final part, Schumann comes nearer to Wagner and his more spiritual and condensed atmospheres, was excellent. Bravissimo. The very long applause of the public induced the Orchestra and the conductor to repeat no less than the last movement.

Fulvia Conter (Il Giornale di Brescia)

...Gilberto Serembe and the Orchestra Sinfonica di Pescara. M Gilberto's interpretation of Haydn's Symphony N. 93 was in the Viennese style but with a look towards the after Haydn, free from any stylistic exasperation and already stretched out towards a sound which would be gradually characterised from Mozart to Beethoven...... Serembe confronted the great work with impetus and determination, underlining the moments and the accents which characterise the style of Beethoven. The Orchestra showed itself to be to at the height of the situation and especially in the "solos" one could hear the skill and the musicality of the various musicians.....

Michele Gioiosa (Musica e Scuola)

...Beethoven in Pescara. Serembe interpreted the music in depth without omitting the particulars which often are fundamental to Beethoven's style of writing. The conductor knew how to comunicate his own musicality and interpretation to the orchestra in a musically very valid discourse. Serembe touched all the different sonorities from the pp (clarinet) to the full and dramatic fortissimo of the orchestra. The public listened to the Symphony with great attention and it bestowed a real ovation to the conductor and to all the orchestra.

Michele Gioiosa (Musica e Scuola)

 ...Gilberto Serembe threw himself into the performance (Beethoven's 3rd Symphony) with fire and uninterrupted vital force. The clarity of the general design, defined in every detail, a formidable memory combined with the care for every "entry" , which corresponds to the bursting or the outlining of a new idea as much as to the capacity of fully immerging oneself into the musical and emotional palette of the work; these are some of the qualities shown once again by Serembe. A conductor with a clear gesture, though "appassionato", who should deserve a great career. "Bravissimo" and involving, so much as to oblidge the orchestra, though with gentleness, to give its best, sometimes even to surpass itself. At the end frenetic applauses and calls.

Fulvia Conter (Il Giornale di Brescia)

 ......Gilberto Serembe, with his clear gesture, expressiveness and much impetus, was able to obtain prominent results in Beethoven's Eighth Symphony. Serembe is a very cultured musician, of quality, and the "Eighth" came out vivid and spontaneous...The public sprang into a very long applause at the end of the Symphony, appreciating the zeal of the orchestra and the "bravura" of Gilberto Serembe, a conductor who deserves to be a good deal better known.

Fulvia Conter (Il Giornale di Brescia)

 ...the Italian conductor Serembe conducted Anton Bruckner's 5th Symphony with artistic maturity and high professional culture, underlining the psychological conflicts of the work...a great conducting capacity and a highly creative manner...the Radio and Television Orchestra responded to the stimuli of the conductor and performed with inspiration and technical and stylistic precision...

Cesk Zadeja (Drita)

 ...the impression one received from the excellent performance by the orchestra of "Pomeriggi Musicali" (under the skilled and passionate guidance of Maestro Gilberto Serembe) was that it underlined the powerful drama of the Scottish Symphony well beyond its "local colour". With the stately progress of the largo e sostenutissimo with which he designed the conclusive part of the symphony, one felt a Beethoven-like solemnity, worthy of Schumann's Rhenish. The public warmly applauded Serembe and Maurizio Zanini, the impeccable soloist of the evening.

Giovanni Gavazzeni (Amadeus)

 ...all Mendelssohn with the conductor Gilberto Serembe who imprints that emotional charge and symphonic breathing to the music that other conductors subtract, thus pointing to a water-colour effect and an intimate decantation. The orchestra responds with convincement and with a compact sound, tension and relief of the melody, timbric enamelling...the phrasing is nervous but capable of flexing with naturalness towards the necessities of the musical discourse so as to guarantee its continuity. The game is up for the ouverture "The Beatiful Melusine" and all this is put in full relief with the fascination of the "Scottish" symphony...Readings of great respect, supported by excellent capacities as a conductor, clear ideas translated into facts with a very warm applause in reply...

Alberto Cantù (Il Giornale)

 ...the orchestra was at its best just in the interpretation of the Jupiter Symphony which turned out to be by far the best part of the evening...Light melodiousness and gracefulness were reflected in the whole performance. Serembe's interpretation reached its climax in the dancing Minuetto and in the Andante which were realized with a very romantic vision. Serembe, with his harmonious way of conducting and using preferably wide and striking gestures, sweeped the orchestra into the thematic and contrapuntal game, that is symphonic, even in the most extreme moments...Gilberto Serembe has proved to be a remarkable conductor with his interpretation of Mozart, a conductor whom we should hear again with pleasure...in Lalo's cello concerto Serembe willingly underlined the dramaticity of the orchestral parts, but even then the sound of all the orchestra was mellow and soft...

Hannu Wuorela (Turun Sanomat)

 ...the concert received enthusiastic recognition for both pianist and conductor...the evident vocation for Beethoven on the part of the Milanese conductor had already been acknowledged...the sure gesture which moulded the theme with controlled energy...already at the opening of the programme, everything pointed to confirm that first remark. Self-assurance, very clear elegance, luminous, rythmical liveliness for the Concert in G major...a performance full of Apollonian smoothness and concentrated rythmical vigour...and in fact the performance of Beethoven's Fourth Symphony conducted by Serembe was Apollonian, smooth and rythmically very lively. It was not merely an illusory impression: that is, one prompted and guided by that exterior brilliance, that generic propulsion with which many conductors with a quick hand resolve various problems...in the Adagio, Serembe really x-rayed the very delicate, rythmic filigree, leaving the very lyrical, melodic contours to expand with sure phrasing and the slightest "rubati". A great hand also in the exploding "finale": Dionysus in Apollo.

Maurizio Papini (Il Giornale)

 ...the luminous serenity, the aristocratic elegance and the beautiful sound of the "Orchestra Regionale Toscana", compact and precise for the occasion, have revealed a harmony that only a conductor of good breed, conscious of the musical reasoning, can achieve and obtain. The "Seventh", indeed, precise in its outlines, clean-cut in its proportions, with a clear sound but always soft and substantial (one could say "in the old style") has confirmed the certainty that we have before us a real conductor in the wake of the great Italian tradition...

Maurizio Papini (Il Giornale)

...for Gilberto Serembe, who has returned to conduct the ORT after a very happy debut just a little less than two years ago, it is a tasty morsel. He chews it very well, showing up as a conductor of excellent preparation, both technically and musically...the ORT played magnificently, even better than usual, not only but with a beautiful, full sonority, really symphonic
...very good the soloists of the "Trio di Milano", very good Serembe who accompanied them with much discretion but also knowing how to come to the front when Beethoven remembers to be the cyclopic symphonist he is.

Daniele Spini (La Nazione)

 ....in Beethoven's Triple Concert, the conductor Gilberto Serembe sustained perfectly the brilliant and elegant vision of the three prestigious soloists of the "Trio di Milano"...in the second part, Serembe was engaged in a hard task: Beethoven's Seventh Symphony...with his precise and leading gesture, guided by a sure, expressive musical idea, he brilliantly avoided Beethoven's pitfalls. To his credit there is above all the correctness of the beginning of the tempos and the shrewdness in not interrupting the emotional current between the first and the second and between the third and the fourth movements with useless pauses...Serembe did not loose sight of the care for instrumental details and musical figures...the ORT once again showed itself to be an orchestra of exceptional commitment and followed every solicitation of the conductor just like a perfect sounding machine, touching a peak of exemplary "legato" in the most celebrated "Allegretto".

Alberto Batisti (Paese Sera)

....Tchaikowsky's Fifth, Ravel's Pavane, Debussy's Prelude a l'Apres-Midi...all performed well with clarity and impetus, compact, polished, nearly aggressive
...the credit naturally must also go to the young conductor Gilberto Serembe, who rehearsed splendidly the difficult performance. Although already known as a conductor he was in fact able to surprise us from the rostrum with his elegant and effective gesture, without needless adornments, capable of transmitting an explosive musical charge but always with exact reckoning. Rest assured that he will become familiar to us...

Maurizio Papini (Il Giornale)

 ...the "Haydn" Orchestra conducted by Gilberto Serembe with accurate and stylistic consciousness, gave an excellent interpretation which was underlined by very warm applause.

Maxia Zandonai (Alto Adige)

 ...Serembe, in the short span of a couple of years, has acquired levels of extraordinary maturity. What had just been our intuition on his first appearance on the rostrum of Bari has now been fully confirmed...Serembe has succeeded in interpreting with sincere transport, moments of the most brilliant impetus and of elegant abandonment, offering on the whole a fascinating performance.

Nicola Sbisa (Gazzetta del Mezzogiorno)

 ....Serembe, as well as a musician, is a serious and conscientious professionist. His performance was bright, clear and linear...in Schumann's Fourth Symphony he pulled out his claws showing his temperament...he gave Schumann a vigorous cut, moulding the sonorities with sensitive mastery and outlining the fantastic and expressive design of the author with convinced fidelity.

Nicola Sbisa (Gazzetta del Mezzogiorno)

 ...his gesture appears clear, effective, rationally articulated and with a good grip on the orchestra...Serembe with an act of courage, with which he must be credited, has not directed his choice on pages of easy effects, but has conformed to criteria of learned musicological research.

Guido Piamonte (Il Giornale)

 ...Gilberto Serembe has shown that he can master with self-assurance various musical works and, even more, that he can communicate them to the performers and to the audience with extreme clarity of detail. This does not give rise to a fragmentary character, but achieves a unified fusion of the structural elements...

Mariella Sala (Brescia Oggi))

..the concert conducted by Serembe gave the impression of having been prepared with careful professionalism...good intonation of the woodwinds, efficiency of the strings and also an unusual softness of texture, for which the well-measured and extremely musical gesture of the conductor was certainly instrumental...one always had the impression of an intelligent control on the part of the conductor of the global significance of the various works.

Leonardo Pinzauti (La Nazione)


Gilberto Serembe