Dirk Vooren
"Conductor Hauser impressive: (...) after two days of rehearsals (he) succeeded in putting his own stamp on the Rotterdams Philharmonisch(...) Hauser was especially impressive in his ability to combine musical integrity with energy. That led right away to brilliant results in Wagner's Rienzi Overture. The strings and the winds created a muted but arresting sound which gave the music a mysterious quality. What was surprising was that with this Hauser could still effectively reproduce the frandiose and festive passages. That same combination was also captivating in the performance of Brahms' Fourth Symphony. Here even more so than in the Wagner the strings found _expression for the subtlety of the music, with which Hauser clearly distanced himself from the habit of making this work a pompous finale(...) ...The accompaniment (Schumann Cello Concerto) by Alexis Hauser was exemplary. Precise ensemble playing was achieved through his remarkably close contact with the soloist. Again, one was impressed with how secure and relaxed this conductor was, working without the use of any score."
"Conductor Hauser impressive: (...) after two days of rehearsals (he) succeeded in putting his own stamp on the Rotterdams Philharmonisch(...) Hauser was especially impressive in his ability to combine musical integrity with energy. That led right away to brilliant results in Wagner's Rienzi Overture. The strings and the winds created a muted but arresting sound which gave the music a mysterious quality. What was surprising was that with this Hauser could still effectively reproduce the frandiose and festive passages. That same combination was also captivating in the performance of Brahms' Fourth Symphony. Here even more so than in the Wagner the strings found _expression for the subtlety of the music, with which Hauser clearly distanced himself from the habit of making this work a pompous finale(...) ...The accompaniment (Schumann Cello Concerto) by Alexis Hauser was exemplary. Precise ensemble playing was achieved through his remarkably close contact with the soloist. Again, one was impressed with how secure and relaxed this conductor was, working without the use of any score."