Photo © Steve J. Sherman


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OPERA ORCHESTRA




ALBERTO VERONESI
PRESS QUOTES AND REVIEWS

Live Performance Reviews
Cavalleria rusticana & La Navarraise
Conducting The Opera Orchestra of New York
October 25, 2010, Carnegie Hall


"Alberto Veronesi, who will succeed Eve Queler as OONY music director in the 2011 season, made an auspicious conducting debut. A Puccini specialist in Italy, with a youthful, athletic podium style, he attacked both operas with tautness and precision...the crowd scenes had unusual crispness and color with fine ensemble work from the OONY orchestra and the distinguished New York Choral Society."

Opera News

"Mr. Veronesi drew a stylish account from the orchestra, with eloquent wind solos and exciting contributions from brass players and percussionists...[a] positive prognosis for an admirable institution's immediate future."

The New York Times

Recording Reviews

Leoncavallo: I Medici
"Alberto Veronesi conducts with flair and conviction."

The Times (London)

Leoncavallo: La Nuit de Mai
"But there's much that pleases and engages in the work's lush color and often surprising invention, at least as heard in conductor Alberto Veronesi's nuanced and warmly communicative reading with the Orchestra del Teatro Comunale di Bologna."

The Classical Review

"The rich accompaniment is nicely handled by conductor Alberto Veronesi and the Orchestra del Teatro Comunale di Bologna."

The Toronto Star

"The real heroes, however, are Alberto Veronesi and his virtuoso Bologna-based orchestra, who have the lion's share of the proceedings."

The Guardian

Mascagni: L'amico Fritz
"Alberto Veronesi is a light-fingered conductor, and the orchestral playing is superb."

The Daily Telegraph (London)

"Veronesi's way with the piece has a naturalness that nevertheless seeks out its distinctive character."

BBC Music Magazine

"...and there's marvelous conducting from Alberto Veronesi."

The Guardian (London)

"Special credit is due to Alberto Veronesi and the Orchester der Deutsche Oper Berlin. It takes particular talent to lead this kind of fluid score with success, and Veronesi's close following of the singers' expressivity and his ability to bring out colour from all sections of the orchestra prove that he's well matched to this repertoire."

MusicalCriticism.com

"The real surprise and biggest contributon to the success of this recording comes from conductor Alberto Veronesi. He avoids coating the narration with honey and molasses, undoubtedly the biggest risk in an opera of this kind, without doing away with the slightly melancholic dimension that constitutes the essence of the opera's characters. The secret is to impart rhythmic freedom without losing the tight conciseness of the narrative. His task is made easier by the truly exquisite quality of The Orchestra of Deutsche Oper Berlin.... He demonstrates an evident affinity for this musical period."

Paterre Box presents La Cieca

"Alberto Veronesi is clearly fond of this piece, and it is given an affectionate reading by him the Deutsche Oper forces."

Opera News

"In the pit, Alberto Veronesi brings the dynamism of the delicious score to the fore...the whole piece flows along with terrific charm."

Opera Now

Puccini Rediscovered
"Veronesi leads the Viennese in rich and perceptive accompaniments."

American Record Guide

"The Vienna forces under Veronesi accompany with gusto."

Gramophone

Puccini: Edgar
"Under Alberto Veronesi's energetic leadership, the piece is given a well-paced reading full of vivid orchestral color..."

Opera News

"Under the careful guidance of Alberto Veronesi the balance between the instrument groups is exemplary...Puccini's beautiful music sparkles in the lyrical passages, and is developed by Veronesi into dramatic climaxes with thrilling inner tension."

Das Opernglas (translation)



"Carnegie Hall was nearly full of people clearly eager to hear the fantasical and musically elegant work..."

"Ms. Queler drew a lushly colored, well paced and confident performance from the orchestra..."

"The most memorable moment was the simplest, when Ms. Borodina sang the unaccompanied verses to a deeply melancholic song, like a long spun Russian folk ballad. She did not need a costume and scenery to turn this haunting music into riveting operative drama."

The New York Times – Anthony Tommasini



"Despite dire prognostications not so long ago, Eve Queler’s Opera Orchestra Of New York refuses to go gentle into that good night, and we are all the better for it."

Time Out New York – Steve Smith



"It was good to hear Rimsky's extravagant melodrama again, and OONY once more proved its worth."

MusicalAmerica.com – Peter G. Davis



"The Opera Orchestra itself shone in the overture introducing the drama, intrigue and spectacle ahead; interlude between the heroine, Marfa's celebration of her happiness and her jealous rival, Lyubasha's venting of bitterness; and other instrumental passages."

QonStage.com – Bruce Michael Gelbert



"Over the top verismo...the singers chewed up the scenery: Aprile Millo had a triumph and Marcello Giordani sang like a God."

The New York Times – Anne Midgette, March 3, 2002



"The shining light of the evening was, as usual, Ms. Queler herself. New York is so fortunate to have a major conductor who tirelessly unearths great gems that are hardly ever performed any longer. Maestro Queler has been excelling at this musical archaeology for so long that some of her discoveries have entered the standard repertoire."

The New York Sun – Fred Kirshnit, November 15, 2005



"When Stephanie Blythe stepped to the music stand as Mignon at Carnegie Hall in the Opera Orchestra of New York's concert performance of Thomas' Mignon on Thursday night and sang her first notes, it was immediately apparent that the opera should be rechristened. How about 'Magnifique?' "

The New York Times – Anne Midgette, April 12, 2005



"Eve Queler rightly prides herself on her good record of introducing singers who then go on to important careers. Her concert performance of Verdi's neglected early opera La battaglia di Legnano had four such singers, all of whom were making return appearances…This is why Ms. Queler has endeared herself to opera fans in New York for more than 25 years."

The New York Times – Anthony Tommasini, November 13, 2001



"Many attending [Opera Orchestra's] performance under Eve Queler must have been approaching Der Freischütz for the first time. It marked the United States debut of the Dutch soprano Charlotte Margiono, who has enjoyed a major career in Europe. Ms. Margiono displayed a voice of true dramatic substance and carrying power. She sang the opening slow movement with lovely restraint and floated it on a seamless, gorgeous pianissimo."

The New York Sun – George Loomis, June 6, 2005



"Monday night's thrilling performance of Les Huguenots by Eve Queler and her Opera Orchestra of New York at Carnegie Hall was the first the city has heard in more than three decades…Ms. Queler's performance, in filling out the glory of the work, explained how it could have had such a strong, long, hold on the stage."

The New York Times – Paul Griffiths, April 28, 2001



"Ms. Queler drew an involving performance from the orchestra and the New York Choral Society."

The New York Times – Anthony Tommasini, November 13, 2005



"Appearing with the Opera Orchestra of New York under conductor Eve Queler, (Vesselina) Kasarova held an audience in thrall as Romeo."

The New York Times – Anthony Tommasini, October 27, 1999



"The Opera Orchestra of New York performed one of its regular acts of resuscitation, returning "Lucrezia" to Carnegie Hall in a concert version wildly received by New York's opera fans."

The New York Times – Bernard Holland, February 27, 2000