With his classic and elegant calm "Old School" of conducting, he [Adrian Prabava] refers to his prominent mentors Kurt Masur and Bernard Haitink. He settled Schubert near Beethoven, striking the beauty of the strings in the intimate second movement. Prabava shows temperament, yet radiates great calmness and achieves maximum precision and expression in the orchestra with much less physical effort than others. Vorarlberger Nachrichten (Fritz Jurmann) - 27.11.2017
Special attention was paid to Adrian Prabava at the stand. He conducted Schubert's 4th Symphony by heart and convinced above all with his small but very expressive and concise gestures. This created well-balanced, self-confident strings and gave the numerous solos of the woodwinds room to unfold. We look forward to the next encounter with this conductor.  Kultur - Zeitschrift für Kultur und Gesellschaft (Silvia Thurner) - 26.11.2017

Could it, should it, be the job of every conductor and every orchestra with every concert to convince their audience that the piece being performed is the greatest symphony or concerto or whatever ever written? I’d say perhaps so. And tonight, (Adrian Prabava), a conductor I’d never heard of convinced me, somewhat despite my reservations, that Schumann’s second symphony is, indeed, one of the greatest symphonies in the repertoire.
Fugue for thought – 27.05.2016

"Beethoven’s majestic symphony no. 7 was thrilling, played at a breakneck pace with almost no breaks between movements. Conductor Adrian Prabava drew a vigorous performance out of the second violins in the first movement, reminiscent of the peerless Herbert von Karajan recordings. The symphony flew by breathlessly, and the sight of out-of-breath Prabava epitomised his interpretation of the power of the piece and his full-bodied, passionate commitment."
The Latest Brighton – 19.01.2016

(German) Indonesian conductor  Adrian Prabava was making his debut with the LPO at Brighton last night and very impressive it turned out to be. He led the whole evening from memory and showed a warm relationship with his players which allowed them some freedom while maintaining an overall control and tight sense of rhythm.
This was particularly true of Beethoven’s Seventh Symphony whose dance rhythms were tight and joyous throughout. Though tempi, particularly in the final movement, were brisk, there was never any sense of rushing the players whose articulation was well up to the demands he made. The Allegretto was sombre without being too serious and set the scene for the extrovert enthusiasm of the Presto. Changes of tempi and dynamic were all carefully controlled without bring too rigid.
Lark Reviews – 17.01.2016

Finally, the success of the evening is also largely indebted to guest conductor maestro Adrian Prabava. This young conductor has been a revelation for this concert. He has got a stranglehold as well as rigour and great accuracy. The orchestra gave him total musical response.
Info Culture – 05.11.2015

The QSO played under the baton of Adrian Prabava. It was placed in good hands. During Sibelius’s Symphony No. 1 which the guest conductor lead by heart, one could feel that he knew exactly what he wanted and, most importantly, how to get it. One could also feel Adrian Prabava’s love for this work and how much he wanted to make appreciate its qualities . Inspired by this determined direction, the orchestra played with generosity and insurance.
Le Soleil – 04.11.2015

Adrian Prabava inspired the very alert orchestra to a truly refreshing interpretation which one could not have imagined any more intelligently dosed in terms of mixture of pathos and noblesse. Even British musicians would not have been able to do any better. [...] Linus Roth and the precisely lead Reutlingen Orchestra realised an exemplary interpretation, vibrating and sophisticated, which in all aspects measured  up to the piece’s status within the repertoire. [...] Mendelssohn’s popular „Scottish Symphony“ in A minor opus 56 was played under Adrian Prabava in a wonderfully fluent and fiery manner, without neglecting poetic details to be carved out notably in the middle movements.
Bergsträsser Anzeiger – 03.12.14

Soloist [...] and guest conductor Adrian Prabava gave distinction to the third symphonic concert of the season. And how! Prabava – a bundle of energy with a very precise sonorous conception – claimed from the music all the quiet intensity and explosiveness which she holds in readiness without ever allowing any vagueness.
Reutlinger Generalanzeiger – 03.12.14

The impressions left by the second concert of the cycle 'Slavic Soul' were really exceptional ... The second half of the evening was devoted to 'Symphony No. 5' by Dmitri Shostakovich. Prabava conducted the justifiably popular, often-heard work with great care, putting in relief, with freshness and wondrous economy of expressive means,  every aspect  of the epic dramaturgy. Using as a tool the predesigned tense playing of string instruments and the virtuoso contributions of the fine woodwind of the ASO, he dynamically pointed to heroic machismo of the extensive narrative paragraphs and the march-like exaltations of the opening  Moderato and formed evocatively the mournful, elegiac Largo, leading it in a prolonged climax of shocking volume.
EFSYN – 04.11.2014

A daring programme, a competent conductor and a highly motivated orchestra.... The Innsbruck Orchestra did their utmost under the baton of Indonesian origin conductor Adrian Prabava, and delivered a fulgurant final crescendo... Adrian Prabava definitely  convinced with Messiaen and gave an impressive interpretation...
Kronen-Zeitung Innsbruck – 17.3.2014

Adrian Prabava is an extraordinary conductor who uses the composer’s handwriting in order to make heard every instrument and to emphasize each instrumentalist; he plays the musical colours and contrasts of shades by stressing and confirming them repeatedly.... More than simple conducting he gives an interpretation which never stays superficial, but comes out of the depths of human being and confers spectacular splendour and brilliance to the sounds... A storm of applause hailed the conductor who had given an extraordinary interpretation of this symphony [Mahler 5th] executed by an electrified orchestra. Bravo! – January 2014

This New Year’s Eve concert turned into the discovery of the relatively young conductor, Adrian Prabava. It suffices to see him "in action“ to assume that he is someone for big orchestras. Prabava is full of energy but works with the greatest precision and is always alert. He understands conducting as the exact shaping of music. For his Basel performance he was perfectly prepared... A sonorous medley, which is usual for that kind of concerts, but which he knew to link thematically through his creative power. Orchestra and chorus let inspire themselves by his elaborate agility...
Baseler Zeitung – 30.01.2013

Musical expression was given high priority that evening. This was thanks to conductor Adrian Prabava’s immensely vivid impetus. Literally overflowing with vitality and energy, and on top of that an extraodinarily assiduous conductor in terms of physical effort, Prabavas’s expansive and evocative gestures continually carried away the Radio Philharmonics’ and inspired them to very intense and contrastive playing.  Thus were created lively and colourful interpretations which particularly impressed by their contour sharpness, their strong accentuations and nimble dynamics possessing fine shades and sensitive nuances. [...]
It was in Schumann’s Third Symphony, called „Rhenish“, that the audience was completely taken in by the majestic and solemn aura of the fourth movement and the elemental impetus of the triumphant orchestral apotheosis in the fifth.
Rheinpfalz – 22.10.2012

Indonesian-born conductor Adrian Prabava made a very promising UK debut, using the large orchestral forces to create a full-blooded, unashamedly Romantic sound which made quite a contrast to the last time I heard this symphony [...] in the same hall. The pallette of orchestral colour was rich and well used, from the plangent winds of the introduction to the rich breadth of the string tone, and I especially liked the way Prabava drew out the chocolaty colours of the middle strings. The final bars were a romping conclusion... – 30.04.2012


It was exactly those gentle, soft and dark tones which gained special emphasis in the new Bernese production thanks to the young Indonesian conductor Adrian Prabava, former assistant of Bernard Haitink in Amsterdam, who sought and found numerous colors and nuances in Dvoƙák's score. Yet, "Rusalka"  rarely sounded so impressionistic. It happens not very often that one can hear the forest shades and night moods so suggestively enchantedly. On top of that, this interesting young conductor disposes of a very solid craft. Hardly ever he had to iron out any delicate situations,  and he accompanied the singers with guarded accuracy while bringing out from the Bernese orchestra a beautifully blended sound.
Musik und Theater – November 2015

Lead by a precise, an intelligently responsive and a beautiful sounding homogeneous orchestra, the Bernese "Rusalka" under the baton of Adrian Prabava proves from number to number, from scene to scene  and act to act as a production of remarkable coherence and quality.
Die Stimme der Kritik – November 2015

Dvorak’s abundant score, with its symphonic and leitmotovical shape was brought to shine from the first moment onwards. The piece, which combines highly romantic approaches with almost impressionistic tone painting is in good hands with [Indonesian] conductor Adrian [Prabava]. Highly alert he explores dynamic ranges, while beautifully letting the strings breathe and the woodwinds expand. Some exquisite solo performances from the ditch (again and again it is the harp!) fit perfectly in the big picture. Adequate tempi and a slavic ductus leave nothing to be desired.
Der Bund – 24.11.2015

At the helm of the Altenburg-Gera Philharmonic Orchestra, Adrian Prabava had the ideal touch, exactly capturing the style of the music and satire. Neither the music’s slightly uncouth character nor the subtly cryptic innuendos of the motifs fell by the wayside. Conducting with strong control and yet great ease of assurance, he was in complete command of all the multifarious elements on the stage, creating a lightness of texture that is notably difficult to bring off in this music.
Das Orchester – (review of a performance of Shostakovich’s Moscou Tcheriomouchki)

The fact that, within the musical confines of an operetta in which 22 of the 40 numbers are reprises, the evening was highly agreeable was undoubtedly the result of the young Indonesian conductor Adrian Prabava’s talents. The new First Kappellmeister of the Altenburg-Gera Philharmonic Orchestra drew from his players acutely piercing sonorities that are the absolute essence of Shostakovich’s biting musical style. Thanks to the sounds he conjured up, he succeeded better in presenting a case for this work than did the stage director with his chichi production.
Opernglas – (review of a performance of Shostakovich’s  Moscou Tcheriomouchki)