Acclaim


“Mark Adamo’s Little Women is one of the few contemporary operas that have entered the repertory. Even The New York Times’ oft-quoted assessment, “some sort of masterpiece,” lifted it up, rather than jinxed it. Its popularity is not confined to the U.S.: since its first performances in 1998, the opera has been seen in Australia, Belgium, Canada, Israel, Japan, Mexico, and the Philippines. … …Joseph Colaneri carefully sculpted the musical side of the equation, and The Mannes Orchestra played with clarity and subtlety. … Mannes lavished all the care and attention on this production that Adamo, who was in the audience, could wish for.” (Mannes Opera, Adamo, Little Women) May 12, 2016

 

 

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Rick Perdian, SeenandHeardInternational.com

“Mark Adamo is one of the three big A's in contemporary opera composition. Little Women, the first of his three completed operas, is produced by the Mannes Opera. … Joseph Colaneri conducted the Mannes Orchestra, and helped bring out all the special touches the composer provides. ... When you see such talent making opera art with contemporary works and an engaged and satisfied audience, it suggests that opera will live on in this century. Mannes is contributing to a rich future.”(Mannes Opera, Adamo, Little Women) May 7, 2016

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Susan Hall, BerkshireFineArts.com
The Barber of Seville review: Rossini gets a rock makeover


“Tara Erraught is already a Rossinian of note. This is her 25th performance as Rosina, following stints at the
Vienna state opera, the Hamburg state opera and the Bavarian state opera. She brings to the role a full
command of what you might call its vocal bling, those showy, acrobatic lines that she knows how to deliver with an effortless insouciance. She can also tug at the heartstrings..”

Michael Dervan, The Irish Times

"Joseph Colaneri conducted with forward motion and authentic style. The Maestro never over-indulged the bathos and horror. His very brisk opening statements, and pulsing undercurrent to the floated, ethereal strings established his approach to the score. The orchestra exhibited excellent ensemble work, but there were also beautiful solo passages
that mirrored the drama on stage. Maestro Colaneri was a willing partner in the breathless finale to the Macbeth-Lady duet as they scurry off stage after the murder of the King. I have heard some wonderful orchestras here over the years, but this was arguably the finest idiomatic playing I have yet heard from Glimmerglass pit." (Verdi, Macbeth Glimmerglass Festival 2015) -James Sohre, operatoday.com August 7, 2015

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operatoday.com
'Macbeth' at Glimmerglass Fstvl tells electrifying tale of tragic Scottish king

“Glimmerglass Festival's "Macbeth," as anticipated, was a huge success July 11, opening night, with larger-than-life guest artist Eric Owens in the title role, luxurious-voiced Melody Moore as Lady Macbeth, and a lineup of standout vocalists. Superstar status for this production of Verdi's 1847 opera, however, goes to the festival orchestra conductor Joseph Colaneri, who electrified the audience from the ominous opening chords to the mournful finale.” Verdi, Macbeth, Opening Night Production, Glimmerglass Festival 2015

syracuse.com

“…the immortal drama [Macbeth] moves ever forward, thanks to a driving and powerful orchestra performance, conducted by music director Joseph Colaneri…” Verdi, Macbeth, Opening Night Production, Glimmerglass Festival 2015

Joseph Dalton, Timesunion.com

"In the warm Edwardian embrace of His Majesty’s Theatre, conductor Joseph Colaneri tendered Verdi's grandiose score without resorting to pomposity, supporting the drama with effective tempi and allowing the artists to ride comfortably over the music. ...Colaneri mustered the artists and musicians of the West Australian Symphony Orchestra to deliver gratifying results." Verdi, Il Trovatore, West Australian Opera

Paul Selar, Bachtrack
WA Opera's full-throated Il Trovatore

"The company's artistic director Joseph Colaneri led the WA Symphony Orchestra in a vivid account of Verdi's score, always closely connected to the singers." Verdi, Il Trovatore, West Australian Opera

Rosalind Appleby, The West Australian

"Conductor and Music Director Joseph Colaneri, who knows this opera score inside and out, maintained good balance with the singers throughout the performance." Puccini, Madame Butterfly, Glimmerglass Festival, July 2014

Cavid Abrams, CNY CAFÉ MOMUS

"Highest marks go to the WA Symphony and conductor Joseph Colaneri for a sensitive, intelligent and sensuous rendition of the score..."Verdi, Otello, West Australian Opera

DailyReview.crikey.com.au

"Aside from the production, the chief glory here was the playing of the West Australian Symphony orchestra under Joseph Colaneri. The Tuesday night packed house was able to enjoy a first rate band in a musical interpretation that was viscerally energetic, exciting and detailed in an acoustic that is ideally balanced (eat your heart out Sydney Opera House)." Verdi, Otello, West Australian Opera

Clive Paget, Limelightmagazine.com

"WA Opera director Joseph Colaneri proved why Otello is his favourite opera, leading the WA Symphony Orchestra in a polished and secure performance from the stormy opening to the poignant instrumental solos. ... I think Colaneri may have converted some new Otello fans in Perth, and I am very excited about the rest of the WA Opera season under his helm."Verdi, Otello, West Australian Opera

Rosalind Appleby, Noted:blogspot by journalist Rosalind Appleby

"WA Opera's artistic director Joseph Colaneri, an acclaimed Verdian, elicited a performance of profound expressivity and refinement from the WA Symphony Orchestra."Verdi, Otello, West Australian Opera

William Yeoman, The West Australian

"A bright spot in this year’s lineup was Rossini’s “La Cenerentola” (1817), thanks in large measure to the sprightly, idiomatic conducting of Joseph Colaneri and the witty direction of Kevin Newbury." Rossini, La Cenerentola, Glimmerglass Festival July 2009

Heidi Waleson, The Wall Street Journal

"Best of all, Joseph Colaneri, the artistic director of Mannes Opera and a conductor at the Metropolitan Opera, drew a fleet and bracing performance from the student orchestra." Mozart, Le nozze di Figaro, Mannes Opera 

Anthony Tommasini, The New York Times
Verdi’s Jester Is One More Constellation in the Park

"On Wednesday 27,600 people turned up for Verdi’s “Rigoletto” on the Great Lawn of Central Park, the second performance this year in the Metropolitan Opera’s Met in the Parks series ....

...

Joseph Colaneri led the orchestra in a polished and well-paced accompaniment." Verdi, Rigoletto on the Great Lawn of Central Park,Met in the Park Series

Vivien Schweitzer, The New York Times
MUSIC REVIEW; Poignant and Hulking, A New Rigoletto

"...the excellent efforts of Joseph Colaneri, the conductor, who paced Verdi's score with dramatic savvy and chose effective tempos, measured enough to allow breathing room, but directed and supple." Verdi, Rigoletto, New York City Opera

The New York Times
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