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What the critics have said

About Douglas Anderson as a conductor…

 

Audience responses (written) after the first ever performance of the complete Messiah in Putnam County, NY (December 4, 2016):

Beautiful, excellent, superb…Brilliant!…Fabulous…Absolutely outstanding – just marvelous…Amazing performance…Spectacular! Great!…This was Fantastic…Messiah performed with the most heart I’ve ever seen/heard.  Loved the flow – I was swept away, transported…

EXCERPTS FROM REVIEWS:

Re: Orchestral concert (music by Rossini, Smetana, and Haydn)
“a delightful evening…The orchestra responded well to the baton of Dr. Anderson…[The Moldau] was handled quite well with spontaneity and spark. Anderson was able to extract the right color and voice from the music…”
The New York Amsterdam News, 4/23/98

Re: Martín’s Beast and Superbeast (world premiere)
“a terrific show, wholeheartedly supported by conductor Douglas Anderson and his vibrant pit band.”
The New York Post, 6/24/96

“Dr. Anderson completed the picture by skillfully conducting the orchestra through the intricate score.”
Sightlines, 9/5/96

Re: Cadman’s Garden of Mystery (stage premiere)
“enchanting, graceful vocal lines and heavily perfumed orchestration…conductor Douglas Anderson and his orchestra were on top of the music.”
Opera News, May/96

“a marvelous musical discovery…the score is exquisitely realized and truly inspiring to hear just as pure music…Douglas Anderson’s conducting and the instrumental playing deserve a first recording.”
The Westsider, 2/29/96

Re: Faustworks
“(Douglas Anderson) conducted the instrumental ensemble throughout the entire evening, in complete command of the four diverse musical styles.”
Sightlines, 6/1/95

Re: Beeson’s Hello Out There and Bernstein’s Trouble in Tahiti
“The performance was energetic and generally idiomatic, with sharp direction from Douglas Anderson.”
New York Times, 6/7/94

Re: Albright’s Seven Deadly Sins
“Douglas Anderson led a clean performance.”
New York Times, 10/23/93

Re: Holst’s Savitri
“Douglas Anderson ably led the small orchestra.”
New York Times, 3/9/93

Re: Menotti’s The Telephone and The Medium
“Both operas featured lively orchestral playing…Douglas Anderson at the podium.”
Sightlines, 1/12/92

Re: V. Giannini’s Blennerhassett (stage premiere):
“Musically they were serious…there is a trio for female voices that is heartstopping, and the whole score is tight, tuneful, and completely enjoyable.”
New York Daily News, 3/1/91

“The vocal lines pour as thickly and smoothly as sloe gin. The climaxes are perfectly calculated. There is not a single stumble during the dramatic interchanges.”
New York Times, 2/28/91

Re: B. Adolphe’s The Tell-Tale Heart and P.M Davies’ Miss Donnithorne’s Maggot:
“Both pieces were performed by the company’s small orchestra as conducted with a light but controlled touch by their Musical Director, Douglas Anderson.”
Sightlines, 12/1/88

Miss Donnithorne’s Maggot was well performed last month by the American Chamber Opera Company; better than I have heard before…Douglas Anderson, conducting, drew eloquent lines from his instrumentalists.”
The New Yorker, 12/12/88

Re: D. Moore’s Gallantry and L. Bernstein’s Trouble in Tahiti:
“Both (performances) are excellently conducted by Douglas Anderson.”
East Side Express, 2/4/88

Re: The October 1987 performance of a triple bill:
“The performances led by Douglas Anderson were completely satisfying in the vocal and instrumental departments.”
New York Daily News, 1/31/88

Re: A. Shield’s Shaman and H. Purcell’s Dido and Aeneas:
“The dulcet and precise choral ensembles were led by Douglas Anderson.”
New York Native, 6/1/87

Re: The February 1986 performance of a triple bill:
“(The) operas were musically polished under Douglas Anderson’s alert direction.”
New York Magazine, 2/24/86