Reviews
“[John Williams’ Trumpet Concerto] is tailor-made for the magisterial gifts of the ensemble’s principal trumpeter, who last night had a superlative grasp of the score’s intricacies . . . Sachs played with exceptional clarity and shine. He negotiated the devilish demands in vibrant fashion, whether the music called for piercing rhetoric or lyrical finesse.”
“With his new trumpet concerto, [John Williams] has achieved a different success: showing off a stellar performer’s spectacular chops. Sachs has a radiant tone that flowed freely, regardless of technical hurdles in this 20-minute work. Truly, there was nothing in this idiomatic writing, from fast double-tongued passages to leaping intervals to sleek lyricism, that this player couldn’t rattle off with marvelous security.”
“The Cleveland Orchestra gave one of the finest performances of Mahler’s Symphony No.1 that I can ever hope to hear. It was, of course, magnificently played by every section of this great and profoundly musical orchestra – the principal trumpet should be engaged here and now for the Day of Judgment.”
“Mahler’s 5th Symphony triggered instant amazement: You can’t hear such trumpet playing anywhere in the world with equal intensive virtuosity.”
For 35 minutes, Sachs bewitched the crowd with piercing high notes, clarion outbursts, tight trills, dizzying leaps, and jazzy licks. His and the instrument’s versatility were nothing short of astonishing, as was his endurance, and a large collection of mutes along with a bowler hat allowed Sachs to produce an intriguing palette of wavy sounds and expressive effects. Both Sachs and Marsalis fully earned the roaring applause they received.
“The program included a spectacular performance by Michael Sachs, the orchestra’s principal trumpet. In two works by Giuseppe Torelli he sent crystalline lines through the vast space, caressing phrases and demonstrating how brass playing can be at once heroic and lyrical.”
“…….the Cleveland Orchestra sports some superlative players – a first trumpeter, for example, who could so fill the Albert Hall with glorious sound that single-handedly he raised the impact of the last heroic bars of Mahler’s First Symphony.”
“[In John Adams’ Doctor Atomic Symphony] Soloists performed with distinction, ending with achingly poignant work from Michael Sachs, the principal trumpeter, in the aria theme.”
“[in Telemann’s Concerto in D major] The music blazed with baroque virtuosity, thanks in large part to soloist Michael Sachs, who probably never met a high note he couldn’t master.”
“[In Charles Ives’ The Unanswered Question] the lonely protagonist, the splendid trumpet of Michael Sachs from the top of the balcony……… seemed to be not as much playing in the hall as inhabiting it elementally, emanating from haunted walls, floor and ceiling.”
“[performing von Suppe’s Light Cavalry Overture in Carnegie Hall]… the Cleveland Orchestra is the military band one wants to hear in this piece, especially with Michael Sachs’ dazzling solo trumpet leading the charge.”
“[In John Adams’ Doctor Atomic Symphony] Some members of the orchestra distinguished themselves with impressive solos; above all, trumpeter Michael Sachs knocked our socks off with his sovereign technique.”
“The orchestra’s Principal Trumpeter Michael Sachs was the brilliant soloist in the Haydn Trumpet Concerto in E-flat major. With a Haydn-sized orchestra behind him, Mr. Sachs demonstrated the beauty of his instrument with lovely legato playing that was by turns rich and plummy sounding or lighthearted and joyful.”
“[performing Mahler’s Third Symphony in Royal Albert Hall] ….The third movement’s long post horn solo, redolent of a hazy summer afternoon in the country, was delivered immaculately, from what sounded like a remote mountain top, by the orchestra’s principal trumpet, Michael Sachs.”
“Speaking of perfect, Sachs was just that in Hummel’s E-Major Trumpet Concerto. The immediate standing ovation Sachs received Thursday was a fitting response to a performance right on the mark, one that ticked every technical and expressive box. Hummel’s quintessentially Classical music was the vehicle for warm, clarion sound, crisp trills, and agile leaps all over the staff, all of it under the responsive safety net of the orchestra under McGegan. Sachs also reminded fans of his considerable lyrical gifts, of his ability to spool out a melody with organic elegance.”
Sachs is a luminary of the orchestra, one who can fill Severance Hall with a rich golden sound, yet pierce like an arrow where needed. I have listened to recordings of many great trumpeters over the years, but Sachs stands out as one who not only has great technical facility, but can also channel an incredible amount of human emotion into the instrument’s brazen voice.”
“The Brandenburg Concerto No. 2, which opened the program, also had some breathtaking playing from Michael Sachs on piccolo trumpet. It’s just more spectacular when you hear this brilliant writing for very high trumpet in person. Sachs sounded terrific…..”
Photos
April, 1968
April, 1968
St. Florian Abbey (Linz, Austria) 2005
Promo Photo 1988
Promo Photo 1996
Promo Photo 1996 (Formal)
Cancer Blows Bugler’s Holiday (with Ryan Anthony and Lee Loughnane) March, 2015
Kennedy Center Honors (Sir Georg Solti- December 1994)
With Al Jarreau (September, 2012)
With Conductor Herbert Blomstedt (March, 2020)
With John Williams (November, 2022)
With Ryan Anthony (Cancer Blows, May, 2017)
Promo Photo 2012
With David Zauder (Paris 1995)
With David Zauder (Colorado, 2009)
With Joe Alessi (Domaine Forget, June, 2010)
With Trombonist Alex Iles performing at UCLA (April, 1983)
With my first Bach Trumpet (37 B-flat) (May, 1976)
