Reviews

 

Kronen Zeitung 24th July 2010

...Having started life as a festival focussed on musicals, the Sommerfestival Kittsee successfully changed course in 2009. This year, the intendant duo Peter and Christian Buchmann are presenting Heinrich Berthe´s musical comedy Dreimäderlhaus in the atmospheric courtyard in front of the baroque castle. A hit! (...) They have found a powerful and energetic conductor partner in the shape of Joji Hattori who magnificently highlights and then sweetly merges
Berthe´s arrangements of Schubert´s melodies...

Kronen Zeitung 18th July 2010

...The shift from musical to operetta has been masterfully achieved at Schloss Kittsee. Joji Hattori leads the Capella Istropolitana Orchestra and the Kittsee Festival Chorus with a great sense of operetta, taste and tempo, confirming that Hattori can be highly recommended as a conductor of not only opera but also of operetta...

Wiener Zeitung 26th June 2009

...It is sometimes interesting to take a look at not only the highlights but also at the so-called “repertoire” of the State Opera season. One such example was the 89th performance of Marco Arturo Marelli´s magically colourful and extremely humorous production of the “Magic Flute” which marked the State Opera debut of the Japanese conductor Joji Hattori. The prize-winning violinist has already shown his affinity with Mozart in Vienna through his work with the Wiener Kammeroper. In this production, he again employs his very own spirited and energetic approach in order to bring us his somewhat different, richly dynamic and agogic interpretation of Mozart...

Thüringer Allgemeine 3rd March 2008

...A combination of grace and devotion ensured that the seventh Symphony Concert of the Erfurt Philharmonic Orchestra was enthusiastically received by the public.(...) One can only find good things to say about the performance of Gioachino Rossini´s Strabat Mater, a piece in several movements with a hint of the operatic but a weak denouement. The orchestra played enthusiastically under a highly engaged Joji Hattori, with exemplary instrumental flair being demonstrated by, amongst others, sensitive horns, full-bodied strings and a male choir of well balanced trumpets...

Lynn News 31 July 2007

...The Philharmonia is regarded as one of the world's great orchestras and arguably this country's finest. This was evidenced in the richness of tone in the first few bars played. Throughout, Japanese conductor Joji Hattori drew from his forces disciplined playing with strict observance of dynamics and tempi. Rossini's overture to The Barber of Seville opened the evening. He simply took this one "off the shelf" and substituted it. It has been a great favourite ever since. Hattori took it at a crisp pace with each orchestral section contributing to the vivacious spirit of the work. Saturday's final work on the programme, Tchaikovsky's Symphony No 6 in B minor – Pathetique, is the musical outpouring of an emotionally-disturbed genius. Wisely Hattori did not wallow in the many emotional passages, but nevertheless brought out all the drama of the work. Such was the impact of the penultimate movement that the audience released its knotted up tension with a spontaneous round of applause. After the finale another resounding ovation demonstrated how we, in Norfolk, show our appreciation of a great performance...

Eastern Daily Press 30 July 2007

...Tchaikovsky's Symphony No 6 with the Pathetique sombre opening (yes, the Philharmonia can do this too) showed the orchestra's melodic heart was on its sleeve and with fluid, energetic conducting - sometimes just a shrug of the shoulders - there was an exciting build-up to the third movement's march with string strength and bright brass inducing premature applause. But this happiness returned to the darker mood as they wrung out the emotion and one could sense them breathing the music's pain...

Chichester Observer July 2007

...From the very first notes of Beethoven’s Symphony No 7 in a major the scene was set and the excitement began. Under the firm director of Joji Hattori, the first movement positively bounded along enthralling the packed Cathedral audience. The second movement allegretto in a minor key was taken at a slower pace producing a majestic and haunting interlude in this otherwise fast moving symphony. Returning to a major key, the orchestra leapt into a much faster speed for the absolutely marvellous scherzo with dramatic horn playing and melodious strings, the orchestra moved to a thunderous and spontaneous climax. The tremendous vitality and breathtaking urgency of the Philharmonia’s music was in my mind for hours afterwards...

Augsburger Allgemeine 7 May 2005

...As conductor Hattori leads the Vienna Chamber Orchestra to a firm, vivid sound which is full of expressiveness. This became all the more precious and significant in Joseph Haydn's Symphony No.60 in C major "Il distratto" ...

The Daily Yomiuri 14 April 2005

...First-fiddle Hattori becomes first-string conductor...

The Performing Arts Journal 25 March 2005

Supple Music-Making by the Conductor Joji Hattori

...Sometimes we encounter a staging which "defies expectation" in the positive sense. On such occasion, there are new discoveries in the performed work as well as the performers. The production of Zazà at the Pit Theatre of the New National Theatre, Tokyo, revealed the theatrical talent of Leoncavallo, generally known as the composer of Pagliacci, who vividly depicted the life and love of the people involved in the stage, and furthermore, Joji Hattori, making his opera debut in Japan […] In particular, the conductor Joji Hattori deserves special mention. Although his foray into opera is relatively recent, his supple ability to create the music with the singers is unrivalled in the young generation of Japanese conductors. In spite of having to conduct at the back of the stage without seeing the singers, his firm grasp of the libretto helped him to overcome such limitations...

Wiener Zeitung 22 January 2005

...Dirigent Joji Hattoris großes Verdienst war es, nicht nur bei Müller, sondern in allen Werken des Abends, die Streicher des vorzüglichen Wiener Kammerorchesters zu einem Singen fern aller Kitschigkeit zu animieren. Und so geriet auch Dvoraks E-Dur-Streicherserenade zu einer durchaus erfreulichen Begegnung. Jubel des Publikums!...

 

Der Standard 12 October 2004

...A successful start to the season at the Kammeroper. […] Joji Hattori is able to translate the tragic ambivalence of the text into music and uses every chance to turn the partly static libretto into a dynamic performance...

Kronen Zeitung 10 October 2004

...Finally! After a long period the Kammeroper in Vienna managed to put on a production which fulfils its purpose to present new talent. In "La Finta Giardiniera", an early work by Mozart, a really solid and convincing project has been created; its success was primarily due to the conductor Joji Hattori. […] The conductor Joji Hattori, who has entered the world of musical theatre with this production, demonstrated Mozart's mastery of the musical characterization in this work with all the necessary verve, but also with real sense of style...

Kurier 9 October 2004

...The basis of the production was provided by conductor Joji Hattori, who led the Kammeroper's motivated orchestra. His interpretation could have occasionally done with a slightly faster tempo but he was able to draw a solid and compact image of Mozart's music...

Wiener Zeitung 9 October 2004

...Are you aware of the Kammeroper? It could well be worth a visit to a performance there as it has succeeded in presenting a really musically respectable production. As soon as initial premiere nerves were out of the way, one was able to hear the conductor Joji Hattori (debut at the Kammeroper) achieve a remarkably compact ensemble. He charmed a graceful sound out of the little pit, adding well sprung accents and creating phrases always in accordance with the breathing of the vocal ensemble, seldom letting their natural tendencies come out in raw form and occasionally even using the noblesse of a baroque stride...

Die Presse 9 October 2004

...Joji Hattori conducting the capable ensemble managed to shape out the orchestral parts well and with care: as a skilled violinist he was able to lead the string players in particular to a combination of lightness and beauty of sound, although the various solos played by the oboe, bassoon and horns were by no means less satisfying. All his tempi were chosen with great sensibility and the vocal ensembles were well prepared - a successful debut!...

Wiener Zeitung 17 March 2003

Impressive Quality

...Joji Hattori succeeded in creating a very effective start to the concert with the Vienna Chamber Orchestra. […] Hattori, conducting the VCO, was visibly excited and was - as a prominent violinist himself - most capable in his accompaniment. In Haydn's Symphony No.61 in D Major, he could become the "soloist" himself. And he did this with real excellence, passion and great tension. The orchestra scored with alertness, enthusiasm and a brilliant Prestissimo-Finale...

Der Standard 19 February 2002

The Vienna Symphony Orchestra in the Konzerthaus

Vienna – Some have called Brahms´ work the “concerto against the violin” and others a “symphony with obligatory violin”. Whatever the case, Joji Hattori played Brahms´ challenging piece with boldness and with the use of all his energy (not to mention all the hair on his bow!). Above all it was the “Viennese” passages in the third movement – played by Hattori with such spring and bounce that arsis became thesis - that brought the house down....