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.
