PRESS
The children's choir and of course the Robert Schumann Philharmonic with the already mentioned young Maximilian Otto must also be praised. Under his direction, the technically and musically highly accomplished orchestra steers flawlessly through this demanding, opulent score, which is always full of new surprises. There are beguiling timbres and bursts of sound. 1
Michael Oehme about the premiere of G. Charpentier's “Louise” at the Chemnitz Opera House in February 2025
Under the young Kapellmeister Maximilian Otto - born in Chemnitz, Charpentier's rich score develops a wealth of timbres and provides dramatic impulses. The Robert Schumann Philharmonic, opera, children's and youth choir, the huge ensemble of soloists with countless small roles and episodic appearances as well as the protagonists follow his direction to create a convincing, atmospheric overall effect. 2
Jens Daniel Schubert about the premiere of G. Charpentier's “Louise” at the Chemnitz Opera House in February 2025
The entire ensemble appears to be in excellent condition in terms of singing and dancing, and the support from the slim, always crisp and à point instrumental ensemble in the orchestra pit, which the young Kapellmeister Maximilian Otto confidently brings into harmony with the ensemble, is also fantastic. 3
Torsten Kohlschein about the premiere of “Cabaret” at the Chemnitz Opera House in September 2023
The piano concerto, which premiered in 2018, was performed by Maximilian Otto, who was also only 20 years old and also acted as a soloist. According to his own words, the confrontation with an invisible foreign domination that inevitably interferes with his own free actions formed the intellectual basis for the approximately half-hour opus. This resulted in a constant rebellion against dark tendencies and the flight into inner contemplation. Skilfully applied clusters, piano cadences in abundance, tonal echoes, especially in the introspective middle section, eruptive outbursts and climaxes, quiet cessation - an extremely varied work has been created that derives its fascination particularly from its emotional freshness of life, from its richness of contrasts, which has nothing at all artificially intentional about it. Maximilian Otto immersed himself in his part with an unbridled will to express himself, creativity and verve. The ladies and gentlemen of the Elbland Philharmonie Saxony were his highly committed, differentiated musical companions. What a dedicated, technically adept pianist Maximilian Otto is, he then demonstrated in the powerfully effervescent Romanian Dance by Bela Bartók. 4
Mareile Hanns about a performance of the piano concerto op. 32 in April 2019 in the concert hall of the Dresden University of Music
If, however, such an ambitious program has to be taken over by another conductor due to illness on the day of the first rehearsal and this is a student of 20 years who rehearses and conducts all works without compromises, that is probably the greatest of the many sensations. Maximilian Otto, himself a composer, pianist, double bass player and conducting student in the first year of studies, led this mammoth program with an astonishing overview, cautiously and without a show. He was sure to receive thanks from the audience and the orchestra - in the end everyone was beaming with one another. 5
Ekkehard Klemm on the anniversary concert of Sinfonietta Dresden in 2019
Because Otto and the ensemble approached the works with high standards of their own - in the fantasy overture “Romeo and Juliet” not only did the notes sit neatly in their place. The story of Shakespeare's lovers was played with a lot of tension and courageous approach, and the difficult acoustics of the hall were mastered as well as the task of making seven first violins (there will certainly be more in future projects) sound like fourteen. 6
Alexander Keuk on the founding concerts of the Junge Sinfonie Dresden in 2019
He leaves the Contrapunctus I untouched in its holistic simplicity. The strings begin, the oboe takes over the next part, and after the timpany roll has been carefully prepared, the brass is allowed to speak. The freshman orchestrates along the natural flow of music with astonishing certainty - and thus arrives at a result that need not fear comparison with those of his established composer colleagues. 5 7
Werner Kopfmüller on the premiere of the orchestration of Contrapunctus I from Bach's “The Art of Fugue” under the direction of Omer Meir Wellber with the Deutsche Kammerphilharmonie Bremen in 2019
Sources:
1 https://www.pizzicato.lu/grandiose-auffuhrung-von-gustave-charpentiers-louise-in-chemnitz/
3 Freie Presse, aus Artikel: „Wenn die große Politik das kleine Glück tötet“ von Torsten Kohlschein vom 19.09.2023
4 Dresdner Neueste Nachrichten, aus Artikel: „Jugend und Erfahrung“ von Mareile Hanns, 11.04.2019