Arto Noras

• Cellist

Reviews

Arto Noras press reviews

"What a fine performer the Finnish cellist Arto Noras is. With his rich stream of tone and immaculate technical address, he cuts a commandingly articulate figure."
Gramophone
“Highly expressive performances; Arto Noras is an eloquent soloist in the Cello Concerto and the naughtily swinging Chamber Music III, where Sallinen unexpectedly lets his hair down.”
Sallinen Cello Concerto – Finlandia Records
BBC Magazine - April 2009
 

“The cello sonata began with a staggeringly soft and beautiful cello aria. Just as yesterday, Arto Novas cast a spell on the audience making the most of the softness and the delicacy of the instrument in the Andante… He has unmistakably the most silky and soul-stirring sound of all the cellists heard in Prades.”
Pablo Casals Music Festival
ResMusica (France) – August 2008
 

“Arto Noras is a vigorous, stylish cello soloist in all three of the works listed here [Penderecki], though only one – Concerto n.2 - was originally designed for that instrument… Noras dispatches both these shorter works in the same strongly sculpted manner that serves the Second Concerto so well.”
Gramophone – March 2002
 

“That eloquent Finnish cellist, Arto Noras, reserves his finest form for the work's closing pages [Elgar], where the unforced nobility and natural reticence of his playing count for a very great deal.”
Gramophone – Awards Issue 2001
 

“With nearly 100 concerts over two weeks [Khumo Festival – Finland], you never know when the moments of magic will come. But one came Sunday in the opening concert in Kuhmo Church when Arto Noras played the Haydn Cello Concerto in C major, bringing serene lyricism to the second movement and a stunning technique to the third.”
The New York Times
 

“Arto Noras, a cellist from Finland, has performed in New York as a member of the Sibelius Academy Quartet. On Wednesday, at Merkin Concert Hall, he made his New York debut as a soloist, and he made a strongly favorable impression. Mr. Noras began with Kodaly’s Sonata for Solo Cello, a work full of quickly running double- and triple-stop passages that demand precision and abundant energy. Mr. Noras supplied these, also bringing considerable color and texture to the music and endowing it with a gripping intensity. That intensity turned out to be a salient feature of the recital. Mr. Noras’ carefully accented phrasing gave Schubert’s Arpeggione sonata a fine Viennese lilt and in the Rachmaninoff sonata, where the piano actually has the more interesting material, he recaptured some of the attention with a sweetly singing tone.”
The New York Times
 

“This Dvorák performance has a fresh spontaneity about it. How lovingly Noras shapes the lovely romantic tune at the heart of the opening movement and the equally beautiful poignant melody of the Adagio…”
Music-web International
 

 “Tellefsen and Noras brought a honed singularity of purpose to their playing. Together and individually, they served the concerto’s spirit [Brahms, violin and cello] and resplendent beauties…. With bright tone and vigor they uncapped the opening allegro, singing out their shared melodies as if from mountaintops…”
Metro (San Jose)
 

“’This cellist is truly awesome’: His records didn’t prepare us for his tone, which seems surely the biggest heard since the days of Pablo Casals and Emmanuel Feuermann…”
New York Daily News