Bio & Reviews

Tadeu Coelho professor of flute at the University of North Carolina School of the Arts. He has served as associate professor of flute at the University of Iowa from 1997-2002, as assistant professor of flute at the University of New Mexico from 1992-1997, and as visiting professor at the Ino Mirkovich Music Academy in Croatia. Mr. Coelho frequently appears as soloist, chamber musician, and master clinician throughout Europe, Asia, and the Americas. He has performed as first solo flutist of the Santa Fe Symphony, Hofer Symphoniker in Germany, and the Spoleto Festival Orchestra in Italy, among others, including guest appearances with the Boston Symphony in the summer of 1996.

A recipient of many awards and scholarships, Rockefeller Foundation, Fideicomiso para la cultura México/EUA, USIA/Fulbright, LASPAU, and CAPES, Tadeu Coelho received his Doctor of Musical Arts degree from the Manhattan School of Music as a student of Julius Baker and Ransom Wilson. Started on the flute by his father, Dr. Coelho also studied with Keith Underwood, Thomas Nyfenger, Andrew Lolya, and Arthur Ephross. Mr. Coelho gave his New York recital debut at Weill Recital Hall at Carnegie Hall in April of 1992. In his native Brazil, Coelho studied also with Spartacco Rossi, João Dias Carrasqueira, and Jean Noel Sagaard.

Tadeu Coelho is an avid proponent of new music and the music of the Americas. He has commissioned, performed, and recorded works by notable composers. His solo CDs include:

Quarteto Vivace Brasil: Live from New Orleans

Azules: Enchanting Latin Music for the Soul for Flute and Harp

Nocturnes: Romantic Works for Flute and Piano

Modernly Classic: Mid 20th Century Works for Flute and Piano

Eighteenth-Century Flute Sonatas

Life Drawing: Works for Solo Flute

¡Rompe!: Chamber Music for Flute and Clarinet from Mexico

Tadeu Coelho Plays Flute Music from Brazil.

Flutists of the World: Paganini Caprice No. 24

He can also be heard performing works by Thomas Delio on 3D Classics and Villa-Lobos on Albany Records with his brother, bassoonist Benjamin Coelho. Tadeu Coelho has published the complete works of Pattápio Silva and other pieces for solo flute as well as collections of daily exercises with accompanying CDs. His published works are available at Flute World. Tadeu Coelho is a Miyazawa artist.

Reviews

[Translated from Spanish]
“…who received the most ovations was the Brazilian Tadeu Coelho for the “Ballade for flute, string orchestra and piano” by the Swiss composer Frank Martin. It seems that his stay and his teaching have captivated many followers; the amount of “bravos” and the applause were very enthusiastic. And in reality the public was not mistaken; although his participation was brief, we saw a spectacular demonstration of confidence, technical control and a sweet communicative projection [with the audience].” Elnorte.com November 9, 2006
http://www.elnorte.com/vida/articulo/689944/default.asp

“Tadeu Coelho…
I don’t know how angels play, but I would like to think that Tadeu Coelho is one of them. Lean, with a boy’s face, a jovial haircut, and a big smile, Coelho plays a 14 k. gold flute with brilliant perfection. He interpreted several composers of his native country Brazil. When we hear him, our eyes cannot help but watch how his body moves and gets transformed into music itself. He feels the melody as he is playing it. When we hear a happy sound, his body moves with grace, as someone born in Brazil. If the tempo is slower, his body moves softly. This is inevitable, because he says that a musician is also an actor. The joy of the audience rests 50% on the eyes and the other half on the ear.

“With his voice mixing two languages [Portuguese and Spanish] in a graceful manner, he explains details about the Brazilian composers Camargo Guarniei, Osvaldo Lacerda, [American] Eldin Burton, Pattapio Silva and the Mexican Eduardo Gamboa. He told us anecdotes, his research on the complete works of Pattapio Silva, and about the instruction he received from his father, also a flute player… He also gave a master class to the students at the College of Music on June 7, reminding us that we can never forget to believe in our students and that [one day] they may also teach.” Saturday, June 17, 2006
http://www.saudadeparisina.blogspot.com/

“The January 29 concert in Crawford Auditorium began with a carefully-gauged and minutely-prepared execution of the Flute Concerto in G Major, K.313, by the extraordinary virtuoso and artist-faculty member, Tadeu Coelho. Featuring his own cadenza, Coelho was as fast and nimble as a hare. In the charming slow movement, notable for the muted strings and for the only use of orchestral flutes in the whole concert, he was suave and delicate, especially in those remarkable moments where three flutes played together. He was rewarded with a standing ovation.”Classical Voice of North Carolina. February, 2006

“Coelho presents the listener with a wide and representative range of compositional styles from the mature Baroque period through the pre-classic empfindsamer and gallant styles. His playing is charming with a lightness and clarity of articulation combined with a sweetness of tone. His seamless legato and singing vibrato provide an excellent contrast to his fleet fingered and clearly articulated rapid passage work. The solid and rhythmic accompaniment of the piano is likewise musical and clean. While these performances are lightly, but deftly and convincingly, ornamented, this is not a recording for early music purists; however, Coelho’s flute playing is solidly in the current-day tradition of interpretation of 18th century music on modern instruments. Coelho plays with clear and musical phrasing, intensity, rich colors, and tonal variety. One could not ask for more engaging, artistic, or impressive performances.”Flutenetwork. J.E.P.

“Tadeu Coelho, flute, and Allison Gagnon, piano, presented an outstanding faculty recital in the acoustically excellent Watkins Hall on the campus of the North Carolina School of the Arts. Coelho…is a captivating musician. His tone and vibrato are warm and seductive, his breath control unbelievable, and his nimble finger technique brilliant. With his knees bent as he squinted at his music – like a batter facing a pitcher – Coelho hit musical homers, much to the delight of the generous audience of admirers…I have never before heard long, low pianissimo notes played either as long or as softly as Coelho played that night – breathtaking, in every sense of the word… As if all this weren’t enough, Coelho and Gagnon treated us to a short set of brilliant virtuoso variations on a theme of Wilhelm Popp. These were all mousse and champagne, delightfully and brilliantly executed!” Peter Perret, June 25, 2005 for Classical Voice of North Carolina

“After the lunch break, Guest Artist, Tadeu Coelho, performed a solo concert that was truly amazing. He has unlimited technique, facility and tone, which he used to totally `wow’ the audience. He knocked our socks off!! His program consisted of both familiar and unusual flute solos. After a short break, Mr. Coelho conducted a workshop of warm-ups, using a CD of jazz harmonies to make things more interesting. He worked on getting everyone to play without tension. He talked about breath being the life spirit of music and how flutists must breathe life into music. Both the recital and the workshop were completely fabulous. In addition to being a stellar musician, Mr. Coelho is a warm and friendly person, whose love of the flute and music shines in everything he plays.” Atlanta Flute Club, 2004.

“Honor Stage for Brazilian flutist Tadeu Coelho, for his Sunday recital at the Luis A. Arango Library Hall. The repertoire and interpretation showed his virtuosity.” El Paredón, Bogotá, Colombia

“Tadeu Coelho succeeds to integrate the characteristic softness of phrasing and of sound being derived from his national musical tradition with the cultured (knowledgeable) technical preparation of the western tradition; this is what an original flutist that succeeds to integrate free interpretation and a rational and analytical execution does.” Falaut, Italy

“I just love it when a flutist I’ve never heard before sweeps me off my feet with his or her stunningly fantastic, drop-dead gorgeous, as-good-as-it-gets playing; when I sit in an auditorium mesmerized, and when I leave the concert overwhelmed and in awe of what I heard, my heart expansive, and my mind all excited that I can add yet another world class incredible flutist to my already long list of amazing flute players. The flutist was Tadeu Coelho. . . [he] played the Third Sonata of Gaubert, a Paganini Caprice, and Chant de Linos. His rendition of the Sonata Latino by Mike Mower was excitingly superb, as were his other Latin American selections. His playing simply swept me off my feet. I just love it when that happens.” Helen Spielman, for FLUTELIST

“[Tadeu Coelho] showed great playing technique expressed through subtle interpretation of Liebermann’s sonata… Virtuous technique while making tones, sincerity and easiness of performance, and the strength for adapting, dominated the whole performance” Novi list, Rijeka, Croatia.

“Though Coelho’s big technique allows him seemingly to skip through fiendish difficulties, he never indulged in idle virtuosity. What came through most in the entire program was the consistent clarity and musicality of his playing, along with his liquid rhythmic sense.” Albuquerque Journal.

“[Tadeu Coelho] displayed an impressive technical virtuosity” Desert News, Salt Lake City

“[Tadeu Coelho] has the most solid technique of a very consistent school… The art of interpretation of this wonderful Latin American musician is compared by critics to soloists in the rank of Jean-Pierre Rampal or Severino Gazzeloni.” Siempre! Presencia de Mexico

“Tadeu is impressive. He is the revelation of this generation.” Cruzeiro do Sul, Brazil

“The soloist is very well prepared, giving us a great and lively performance.” Stampa Sera, Turin, Italy

“Tadeu Coelho gave an exceptional interpretation…There is no doubt about his virtuoso abilities topped with a degree of musicianship that was magnificent and complete.” Diário Popular, Brazil