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...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)
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...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)
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...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)
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...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)
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...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)
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......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)
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...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)
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...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)
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...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)
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...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)
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...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)
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...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)
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...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)
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....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)
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....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)
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...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)
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...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)
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....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)
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...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)
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...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))
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..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)
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