The orchestra and the highly talented conductor were bonded in a magnetic performance where every accent and timbral exploration was nothing less than perfect. (…) The interpretative challenge was among the most arduous, but the young Nicolò Umberto Foron demonstrated staggering maturity. His gesture emanates from a lucid and calibrated intention—an equation where unknowns dissolve into the necessity of the passages required for a crystalline resolution. Extreme rationality met extreme freedom in mastering micro-agogics and dynamic shifts that left his mark on the performance. Navigating between Messiaen’s asceticism and Rachmaninoff’s orchestral giantism requires an architectural vision of sound one would expect from conductors much further along in years, yet Foron maintained absolute command of his musicians throughout.

The orchestra and the highly talented conductor were bonded in a magnetic performance where every accent and timbral exploration was nothing less than perfect. (…) The interpretative challenge was among the most arduous, but the young Nicolò Umberto Foron demonstrated staggering maturity. His gesture emanates from a lucid and calibrated intention—an equation where unknowns dissolve into the necessity of the passages required for a crystalline resolution. Extreme rationality met extreme freedom in mastering micro-agogics and dynamic shifts that left his mark on the performance. Navigating between Messiaen’s asceticism and Rachmaninoff’s orchestral giantism requires an architectural vision of sound one would expect from conductors much further along in years, yet Foron maintained absolute command of his musicians throughout.

The interpretation by Nicolò Umberto Foron, taut and palpable, fostered a listening experience that was at times “transfigurative.” (…) Thanks to the meditative and profound gestures of the Italian-German conductor, the “sorrowful neumes” stood out (…)

A delicious release from the ultra-precise rhythmic flurries of three pianos

Under rising-star conductor Nicolò Umberto Foron, its moments of freefall reverberation were a delicious release from the ultra-precise rhythmic flurries of three pianos, thunderous in their lower register.

Foron was a revelation!

Foron was a revelation! I was on the edge of my seat during the Gran Partita, which bubbles out in a stream of joy anyway, but I’ve never heard it played so spontaneously, so excitingly – as though Mozart himself were conducting. He’s an extraordinary talent, his baton a wand. The beat is clear, the phrasing and colouring eloquently conveyed by fluid gestures and his dancing form. Inspired by Foron’s magic, the young players took us up into the heavens! Can’t wait to hear him again.

Nicolò Foron managed everything with sovereign confidence

However, the sympathetic, red headed conductor Nicolò Foron managed everything with sovereign confidence and brought Carolin Widmann to the forefront in a generous way. Bára Gísladóttir’s Ós allowed the audience a breath of fresh air.

Nicolò as a conductor is very well prepared

Nicolò as a conductor is very well prepared and very attentive to the needs of the musicians and he has great communication skill, too. During the concert he is very concentrated but calm and composed. Nicolò has an excellent hearing and a great, natural musical taste.

Foron’s angular gestures complemented the music perfectly

Throughout the evening Foron’s angular gestures complemented the music perfectly. Something of a dance in itself.

On tour with the RAI Orchestra

Nicolò Foron had (…) excellent control of sound and dynamics within a beautiful phrasing design, and in well-expressed, supervised colors, manifest in all three pieces on the program (…) In all of them, Foron was absolutely in command of the Rai Orchestra, which was in lucid form, pouring out a beautiful and elegant sound at every dynamic level along with clear phrasing sustained by an obviously intelligent approach. The orchestra visibly paid him tribute at the end of the concert, alongside the audience. (…) Furthermore—another merit—Foron mastered the audience as well. This is not common for everyone, nor frequent in our concert halls. After the marvelous pianissimo endings of Messiaen and Mahler, his simple, authoritative upright stance on the podium was enough to achieve what one always hopes for: at least half a minute of gathered silence after pieces of such intensity. At the Ponchielli, you could have heard a pin drop before the enthusiastic applause. Meanwhile, shouts of “bravo” rained down after the crystal-clear execution of the Dances, Rachmaninov’s final masterpiece.
(…) A great concert. If the morning shows the day… here is another fine talent (to the eye, among the most promising) of the prolific generation of conductors in their late twenties/early thirties.

Foron conducted with clear vision and focus to the instrument groups

With Foron and the Orchestra the moments of tension and electricity lead to a at last very dancelike, almost carefree interpretation. Foron conducted with clear vision and focus to the instrument groups, sometimes almost over engaging . However the result justifies his attention to detail.