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"If Gil Rose and Opera Boston get any hotter, we're going to have to declare Boston a tropical paradise."
- Keith Powers, The Boston herald on The Bartered Bride, May 4, 2009
"Gil Rose did a superb job keeping Smetana's score on track, and with particularly impressive results in the overture."
- Jeremy Eichler, The Boston Globe on The Bartered Bride, May 2, 2009
"Gil Rose literally whipped the ensemble into shape…beautifully played and conducted."
- Ed Tapper, EDGE on The Bartered Bride, May 2, 2009
"Conductor Gil Rose and his nimble orchestra started things off at a gallop, playing the famous overture at breathtaking speed but never sounding frantic or rushed. Their sparkling, sunny reading of the score felt exactly right, bringing out the folk-like aspects in the music and making the dances actually feel like dances."
- Kalen Ratzlaff, Opera News Online on The Bartered Bride, May 1, 2009
"Certainly it was not dull given Opera Boston music director Gil Rose's exhilarating, idiomatic conducting and the extraordinary playing of the orchestra…. Rose also leads the Boston Modern Orchestra Project, so it's not surprising that Opera Boston's greatest successes – critical and popular – have been 20th-century operas."
- Lloyd Schwartz, The Boston Phoenix on The Nose, March 6, 2009
"Shostakovich's brilliant writing…came to life under the baton of Gil Rose and thanks to the skilled musicians and chorus."
- Hannah Kirsch, The Justice Online on The Nose, March 3, 2009
"Gil Rose crisply conducts the orchestra through the switchbacks of Alban Berg-style atonality, Stravinsky-esque dissonance, the melodrama of silent-movie accompaniment, and the strains of Slavic folk music."
- Edmond Caldwell, The Bostonist on The Nose, March 2, 2009
"Conductor Gil Rose and the orchestra did a marvelous job in the pit."
- Jeremy Eichler, The Boston Globe on The Nose, March 2, 2009
"Opera Boston and its music director, Gil Rose, navigate this thicket expertly, offering a wildly absurd operatic experience with poise, excellent timing, and a multidimensional theatrical wit that demonstrates the brilliant collaboration of this all-star production team and first-rate cast."
- Scott J. Ordway, ArtsEditor on The Nose, March 2, 2009
"It is a score like none other in opera, with dissonant tension at every turn. Music director Gil Rose and the orchestra earn combat pay – the demands on the musicians are constant."
-Keith Powers ,The Boston Herald on The Nose, March 1, 2009
"With this new, original production, Opera Boston truly comes of age…. Music director Gil Rose, no stranger to the modern music idiom, conducted with complete authority."
- Ed Tapper, EDGE on The Nose, March 1, 2009
"Rose's mastery of the score resulted in nearly flawless playing and balance in the orchestra and provided a solid ground for the singers to keep control of their various musical steeds while still allowing their vocal skills to shine."
- Tom Schnauber, The Boston Musical Intelligencer on The Nose, February 27, 2009
"Clearly Gil Rose's experience with contemporary music has developed his ability to read the classics with a fresh ear. There is no doubt that he is one of the most brilliant conductors of the upcoming generation."
- Michael Miller, The Berkshire Review for the Arts on Der Freischütz, October 29, 2008
"Opera Boston's Der Freischütz, under the sure hand of conductor Gil Rose, scored high enough marks with respect to musical merit to warrant a viewing."
- Ed Tapper, EDGE on Der Freischütz, October 20, 2008
"Gil Rose and the orchestra still conveyed the measure of this work with eloquence and grace."
- Jeremy Eichler, The Boston Globe on Der Freischütz, October 18, 2008
"Music director Gil Rose, who has distinguished himself by his advocacy of new music, proved himself completely at home in the Verdian style. He knew he had thoroughbreds onstage, and he gave them freedom to run and shine."
- Wayman Chin, Opera News Online on Ernani, July 2008
"Gil Rose is one of Boston's most skillful and versatile conductors."
- Lloyd Schwartz, The Boston Phoenix on Ernani, May 12, 2008
"Gil Rose was a confident hand in the pit…"
- Jeremy Eichler, The Boston Globe on Ernani, May 3, 2008
"Music director Gil Rose, who has distinguished himself by his advocacy of new music, proved himself completely at home in the Verdian style. He knew he had thoroughbreds onstage, and he gave them freedom to run and shine."
- Wayman Chin Opera News Online on Ernani, May 2, 2008
"The performers certainly deserved the cheers of the opening-night audience. And so does Opera Boston, for its sterling record of bringing us important contemporary works…I'm grateful for the opportunity to take them in."
- Lloyd Schwartz, Boston Phoenix on Ainadamar November 1, 2007
"Opera Boston music director Gil Rose and his musicians brought their usual excellence to the evening, creating fire and a stunning evocation."
- Wayman Chin Opera News Online on Ainadamar, October 2007
"The conductor Gil Rose led a sensitive reading of a score that has until now been the province of two other conductors."
— Jeremy Eichler, The Boston Globe on Anaidamar, October 20, 2007
"Sharply incising the rhythms, Gil Rose did a great job integrating the vocal forces, diverse instrumental battery, and electronic sounds."
— Ed Tapper, EDGE Boston on Anaidamar, October 20, 2007
"Weill's music covers the musical gamut from neo-Baroque counterpoint to dance hall melodies, the disparate styles fused together in a seamless tableau of devastating power which conductor Gil Rose deftly captured in an energized and edgy performance."
- Karyl Charna Lynn, Opera Now on The Rise and Fall of the City of Mahagonny, May 2007
"Conductor Gil Rose kept things on track in the pit, making sure that Bizet's beautifully lyrical score, with its bright splashes of color was well-represented for its moment in the sun."
— Jeremey Eichler, The Boston Globe on The Pearl Fishers, May 5, 2007
"He's a skilled leader, the opening night performance was paced as smoothly as if it were the end of a long run."
— Keith Powers, The Boston Herald on The Rise and Fall of the City of Mahagonny, February 25, 2007
"Opera Boston music director Gil Rose held together his marvelous ensemble on stage and in the pit with total authority, his deft touch mining the score's charm, lilt and swing, while onstage the mayhem just oozed right on through."
— Wayman Chin, Opera News on The Rise and Fall of the City of Mahagonny, February 23, 2007
"Gil Rose conducted with impeccable stylistic security.
I thought virtually every musical decision was convincing.
Rose built the music to a shattering conclusion."
— Lloyd Schwartz, The Boston Phoenix
on The Rise and Fall of the City of Mahagonny, March
1, 2007
"Under conductor Gil Rose, Weill's score sounded oddly
right for the era and pleasing in a chaotic sort of
way...that Maestro Rose pulled it all together, phrased
it properly, and elicited from the orchestra the sound
he did, is no small achievement and no great surprise.
He does that often, with the little-known, intriguing
works Opera Boston brings in. Well done!"
— Paul Joseph Walkowski, Opera
News Online on The Rise and Fall of the City of Mahagonny,
February 23, 2007
"He's a skilled leader, and the opening night performance
was paced as smoothly as if it were the end of a long
run."
— Keith Powers, The Boston Herald
on The Rise and Fall of the City of Mahagonny, February
25, 2007
"Gil Rose emerged as a Mozart conductor of energy and
refinement."
— Lloyd Schwartz, The Boston Phoenix
on La Clemenza di Tito, October 26, 2006
"At the podium was the ever supportive and superb Gil
Rose, enlivening the score with animation, care and
insight."
— Wayman Chin, Opera News Online
on La Clemenza di Tito, October 20, 2006
"Fortunately, these simple production values allowed
the music, led with assurance and warmth by conductor
Gil Rose, to come to the fore..."
— James Lopata, In Newsweekly on
La Clemenza di Tito, November 1, 2006
"...a clean, no-nonsense, musical style courtesy of
Music Director Gil Rose that avoids both the heavy-handed
and the precious."
— T.J. Medrek, Boston Herald on
La Clemenza di Tito, October 21, 2006
"Conductor Gil Rose guided this production effortlessly
and moved things along with elegance and style, fitting
and typical of the fine orchestra he conducts. Throughout
this production the confluence of orchestra and singer
was a seamless one that supported and led as each scene
required. A "tip-of-the-hat" to Maestro Rose for
weaving that tapestry as well as he did, and always
does."
— Paul Joseph Walkowski, Opera
News Online on La Clemenza di Tito, October 20, 2006
"Under Gil Rose's hand, Eötvös' musical textures
are beautifully expressed."
— Robert Nesta, The Edge on Angels
in America, June 18, 2006
"Gil Rose's conducting stressed instrumental precision
and showed a fine feeling for dramatic flow."
— George Loomis, The Financial
Times on Angels in America, June 28, 2006
"Gil Rose conducted with admirable command."
— Bernard Holland, The New York
Times on Angels in America, June 19, 2006
"And the applause that greeted the gifted and committed
conductor Gil Rose when he appeared to begin the second
act showed that the audience recognizes him for the
local hero he is"
— Richard Dyer, The Boston Globe
on Angels in America, June 17, 2006
"Conductor Gil Rose was right in step with every nuance
and inflection onstage, leading his orchestra with dramatic
flair and fire."
— Wayman Chin, Opera News Online
on Lucrezia Borgia, July 2006
"Gil Rose helms this strong production."
— James Lopata, In Newsweekly on
Lucrezia Borgia, May 10, 2006
"Music director Gil Rose supplied stylish and vigorous
conducting."
—Ed Tapper, The Edge on Lucrezia
Borgia, May 6, 2006
"The orchestra, led by Gil Rose, was up to its usual
high water mark and rendered the score with just the
right touches of expressive colorization and depth we
have come to expect from this company and its fine resident
conductor."
— Paul Joseph Walkowski, Opera
News Online on Lucrezia Borgia, April 30, 2006
"And the orchestra sounded splendid under the always
strong leadership of music director Gil Rose..."
— T.J. Medrek, Boston Herald on
Lucrezia Borgia, April 30, 2006
"...the amazingly versatile conductor Gil Rose showed
himself the master of yet another operatic style."
— Richard Dyer, The Boston Globe
on Lucrezia Borgia, April 29, 2006
"...conductor Gil Rose got the temperature just right...
the chorus and orchestra were well-drilled by Rose,
who understands the importance of style in this music."
— Richard Dyer, The Boston Globe
on L'Etoile, March 4, 2006
"Conductor Gil Rose drew a committed, secure performance
from cast and orchestra."
— Richard Dyer, Boston Globe on
The Consul, October 22, 2005
"As always, conductor Gil Rose and the wonderful orchestra
were active, vital, and crucial participants in the
unfolding drama."
— Wayman Chin, Opera News Online
on The Consul, October 21, 2005
"Conductor Gil Rose's driving energy carried the excellent
orchestra from climax to climax."
— Lloyd Schwartz, The Boston Phoenix
on The Crucible, April 14, 2005
"Gil Rose and the orchestra fearlessly attacked a musical
score rich in complexity."
— Ed Tapper, Bay Windows on The
Crucible, April 14, 2005
"...musical direction of this wonderful orchestra by
Gil Rose that is precise, full and measured exactly
to the strengths of each cast member..."
— Paul Joseph Walkowski, Opera
News Online on The Crucible, April 8, 2005
"Conductor Gil Rose got confident and sometimes fiery
musical work from the orchestra and a principal cast
of seventeen."
— Richard Dyer, The Boston Globe
on The Crucible, April 9, 2005
"Also this past year, Opera Boston managed to overtake
Boston Lyric Opera as the city's most capable and significant
professional opera company. Under the musical leadership
of Gil Rose, Opera Boston came up the real winner with
each of its three productions during 2004. Pride of
place, though, has to go to the long overdue Boston
premiere of John Adams' Nixon in China, one of the most
important and potentially enduring of late 20th century
operas."
— T. J. Medrek, The Boston Herald,
December 31, 2004
"In La Vie Parisienne there are more melodies than you
can shake a stick at, so conductor Gil Rose shook a
stick at them, giving each of them a voluptuous curve,
a pinch on the bottom, an ooh la la, and, when it counted,
a half hidden tear."
— Richard Dyer, The Boston Globe,
October 16, 2004
"Conductor Gil Rose kept things lively and always spirited."
— Wayman Chin, Opera News Online
on La Vie Parisienne, January 2005
"Conducted with just the right amount of fun by conductor
Gil Rose — supporting a terrific cast... Opera
Boston's general director, Carole Charnow, and music
director Gil Rose have done exactly what they promised
a couple of years ago: preserved the best qualities
of the company's former incarnation as Boston Academy
of Music while moving the company into a bright present
and toward what could be an even brighter future."
— T. J. Medrek, The Boston Herald
on La Vie Parisienne, October 17, 2004
"Gil Rose and the orchestra came closest to getting
it right, capturing the fizz, the elegance, the captivating
long lined melodies and hinting at the underlying seriousness."
— Lloyd Schwartz, The Boston Phoenix
on La Vie Parisienne, October 22, 2004
"Conductor Gil Rose, Opera Boston's music director,
got a taut, finely played performance from his orchestra."
— T. J. Medrek, The Boston Herald
on Luisa Miller, May 2004
"Opera Boston's music director, Gil Rose, proved himself
a superb Verdian, thinking out both the subtle details
of small phrases and the sweep of entire scenes."
— Lloyd Schwartz, The Boston Phoenix
on Luisa Miller, May 7, 2004
"Conductor Gil Rose led a tight, dramatically urgent
reading, but allowed the singers space to spin out those
wonderful Verdian lines."
— Ed Tapper, South End News on
Luisa Miller, May 6, 2004
"Gil Rose and the orchestra were superb as usual and
added the necessary embellishments that good orchestras
do, supporting when called for, leading when necessary."
— Paul Joseph Walkowski, Opera
News Online on Luisa Miller, May 2, 2004
"Gil Rose turns out to conduct Verdi as stylishly as
he conducts everything else; he was first-rate, and
the orchestra played well for him."
— Richard Dyer, The Boston Globe
on Luisa Miller, May 1, 2004
"Music director Gil Rose and the extraordinary players
of his Boston Modern Orchestra Project kept Adams' minimalist
repetitions urgently intense yet also let the variegated
colors of his orchestration and his seductive melismas
shine through. Rose made the best case for Nixon in
China as more than a period document, as a living work
of art."
— Lloyd Schwartz, The Boston Phoenix
on Nixon in China, March 2004
"The minimalist style in the music had a veneer of melodic
overtones, with its overlapping repeated patterns and
steady pulse that mesmerized in its repetitiveness —
the result of authoritative conducting by Gil Rose,
who had an innate feel for its pacing and pulse."
— Karyl Charna Lynn, Opera Now
on Nixon in China, July/August 2004
"A pit orchestra conducted by Gil Rose handled Mr. Adams'
slippery transformations of meter and rhythm with confidence."
— Bernard Holland, The New York
Times on Nixon in China, March 14, 2004
"Conductor Gil Rose drew a polished, energized performance
from his Boston Modern Orchestra Project, a superb cast
of young singers, and a scrupulously prepared chorus
that revealed both the score's remarkable sophistication
and its profound beauty."
— T. J. Medrek, The Boston Herald
on Nixon in China, March 14, 2004
"The opera is an aerobic workout for orchestra and conductor,
but Gil Rose and his players were triumphant, and the
chorus was first-rate too."
— Richard Dyer, The Boston Globe
on Nixon in China, March 13, 2004
"...Nixon has a strong musical-dramatic profile. Particularly
in the hands of conductor Gil Rose and the company's
skilled orchestra, Adams's rhythmic repetitions and
the real melodies that soar over them like descants
were highly expressive and often hauntingly beautiful."
— William Fregosi, The Tech (MIT)
on Nixon in China, March 13, 2004
"The evening began splendidly with Gil Rose and the
orchestra giving a surprising tilt to the familiar spry
and sassy overture, which was warm and quick silvery,
more European than Broadwayesque."
— Jan Swafford, Opera on Candide,
May 2004
"The orchestra conducted by Gil Rose was thrilling."
— Clint Hamblin, Footlights on
Candide, December 12, 2003
"Gil Rose and his well-practiced ensemble found the
drama in both operas."
— George Loomis, The Financial
Times on the Opera Unlimited festival, June 11, 2003
"Rose again was a persuasive presiding spirit."
— Richard Dyer, The Boston Globe
on A Full Moon in March, June 10 2003
"Gil Rose drew lucid playing from the 13-piece orchestra."
— George Loomis, The Financial
Times on Powder Her Face, June 10, 2003
"Gil Rose shaped and propelled this wild ride of a score
to perfection, his musicians getting their own ovation
at the end of the evening."
— William Fregosi, The Tech (MIT)
on the Opera Unlimited festival, June 8, 2003
"...getting a superior sound from the ensemble, Rose
led particularly well when the entire cast, both in
the pit and onstage, were going at it, keeping the proceedings
moving at a compelling pace."
— Keith Powers, The Boston Herald,
December 1, 2002
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