International Music Management for Classical Artists

Roman Simovic

Reviews

Simovic gave a magnetic performance of Bruch violin concerto ( LSO / Pappano ), rich in tone intensively expressive, virtuosity and musicianship entwined. This was a fresh and vibrant account, especially eloquent and tender in the slow movement. For a fiery encore, Simovic offered a movement from Ysaye Sonata No. 2, written for Jacques Thibaud, each of the four movements referencing the ‘Dies irae’ plainchant; I am pretty sure Simovic essayed the finale, ‘Les furies’, which lives up to its name. Colin Anderson Classicalsource.com Nov 2016

Simovic’s statuesque posture and affable but self-effacing demeanour provided an approprate stage presence for this most popular of all violin concertos. He expressed Bruch’s music ( Violin Concerto No 1 / LSO / Pappano ) with equal measures of sweet lyricism and powerful intensity, and there was clearly a good rapport between soloist and orchestra. Simovic’s keen phrasing and Pappano’s wonderful orchestral shaping made for a true dialogue, particularly in the first two movements, with sympathetic support from the LSO’s plaintive winds and rugged strings. The inescapably romantic second movement was beautifully played, with both soloist and orchestra combining to produce a warm and rich texture, making the music flow gently like melting butter. The gypsy feel of the finale was played with plenty of verve, with SImovic navigating the interweaving phrases with great technique and enthusiasm leading to a satisfying joyous climax. His evocative encore was the final movement from Ysaye’s Sonata no. 2. Mark Thomas Bachtrack.com Nov 2016

Simovic’s tone was both sweet and husky, his pacing unhurried yet never indulgent. His infinitesimal control of phrasing and dynamics created an almost delusory sense of the music unfolding in multiple spaces, while in the finale, his stamping feet added an irresistible percussive counterpoint. ( Bruch Violin Concerto No. 1 ) Unsurprisingly, Simovic enjoyed the close interplay with the orchestra; Pappano stayed with him every step of the way. Nick Kimberley Evening Standard Nov 2016 

Roman Simovic had a delightful sweet-toned lyricism, and an easy, smiling virtuosity. It was just what was needed to reveal the charm in this somewhat earnest, solidly-crafted piece ( Glazunov Violin Concerto / LSO / Gergiev ) Ivan Hewett The Telegraph Feb 2015 

He is a stylish player with a sweet, lyrical sound and his performance of the Glazunov ( LSO / Gergiev ) was neatly self-contained. The slow section (Glazunov composed the concerto in a single movement) flowed beautifully and Simovic dispatched the double-stopping and left-hand pizzicato of the finale efficiently, without quite letting rip. Milstein’s transcription of themes from Liszt’s Mephisto Waltz no. 1, allowed Simovic to display demonic virtuosity at greater length in an encore Mark Pullinger Bachtrack.com Feb 2015

In his encore, Simovic carried off a feat that on the face of it seems impossible; recreating the heroic piano pyrotechnics of Liszt’s Mephisto Waltz no 1, on the four strings of a violin. He made it seem entirely natural, and in the process reminded us that Liszt’s original actually evokes the harsh open strings of the devil’s fiddle Ivan Hewitt The Telegraph Feb 2015

He is a fine and gutsy player, rich of tone and poetic of phrasing, and he had these qualities from the off in Prokofiev’s tart Violin Concerto No. 2. With lithe and pungent accompaniment, true to LSO family values ( cond. Pabolo Heras Casado ) , Simovic told of tales and painted pictures, his response ranging from intense to ghostly. Colin Anderson Classicalsource.com May 2014

The Andante passed with beguiling gentleness, mellow, on soft clouds with a light breeze caressing the shapes. The abundance of material that is presented in the finale-not least the gutsy themes that Brahms so love- was dispatched with bucolic charm. The avenues within the music were reached without recourse to handbrake turns; line and architecture to the fore ( Double Concerto with Tim Hugh / LSO / Znaider ) Kevin Rogers Classicalsource.com May 2014