The high point was ultimately the second movement of Beethoven’s Seventh Symphony […] in which Ariel Zuckermann rose to top form on the podium. Conducting without a score made him freer in his movements. He encouraged the strings with great elegance to raise a quiet glimmer of hope on the horizon against the sombre opening, burgeoning with longing in the inner turmoil of the crescendo.
Leipziger Volkszeitung, October 2020
The conductor that smiles.
Donaukurier, November 2020
The Radio Orchestra sounded no less lively under Ariel Zuckermann in Darius Milhaud’s ballet music “Le bœuf sur le toit”. In his exploration of the Brazilian folk music-inspired score, Zuckermann struck the right balance between exuberant carnival spirit and gushing sentimentality. Chirping violins and burbling clarinets brought a cabaret feeling to the Prinzregententheater.
Süddeutsche Zeitung, 11.04.2019
Ariel Zuckermann understood the great soulfulness and intimacy of these works, exacting a refinement of sound from the orchestra at all times. Of course he is known for his refreshing demeanour, his remarkable agility and galant conducting.
Augsburger Allgemeine Zeitung, 16.01.2017
After this evening with CPE Bach’s flute concertos it was clear to see why the GKO wanted its “old” boss back.
The vehemence of musical language in Modest Mussorgsky’s work […] that Zuckermann drew out of the orchestra left a powerful impression on the listeners in the theatre. The applause was overwhelming.
Wolfsburger Allgemeine Zeitung, 18.12.2018
Zuckermann and the MDR Sinfonieorchester undertook the performance with such sensuousness and elan that excitement ultimately won over and the Trepak had to be repeated.
Leipziger Volkszeitung, 18.12.2017