Photo: Mark Dellas
Buffalo Philharmonic Reports Strong Financial Results for
The Buffalo Philharmonic finished the 2013-14 season with a significant increase in ticket sales and performed to approximately 200,000 people while seeing its endowment fund surpass the $32 million mark. Among the highlights from the annual report, ticket sales during the 2013-2014 season topped the $3.367 million mark, a 6.2 percent increase from the $3.170 million tickets sold the previous fiscal years.
Buffalo Philharmonic Announces
The Buffalo Philharmonic Orchestra's 2015-16 Season celebrates the 75th anniversary of Kleinhans Music Hall, with major guest artists such as Lang Lang, Chris Botti and Andre Watts, and works showcasing the hall's exquisite acoustics.
Virginia Symphony Announces
The Virginia Symphony Orchestra’s 2015-16 Season marks JoAnn’s 25th Anniversary as Music Director. Highlights include a Beethoven Festival, and performances by internationally renowned violinist Sarah Chang, pianist Natasha Paremski and cellist Zuill Bailey.
Marko Topchii of the Ukraine Wins 2014 JoAnn Falletta International Guitar Concerto Competition
Marko Topchii of the Ukraine swept the top prizes in the sixth biennial JoAnn Falletta International Guitar Concerto Competition. Second place went to Ekachai Jearakul of Thailand and third place to Chad Ibison of the United States. Marko Topchii will receive a solo concert at the prestigious series Incontri Musicali, (Musical Encounter) in Milan, Italy in April 2015 along with a $10,000 cash prize, a Carnegie Hall appearance, national and international broadcast exposure, a guitar by Master Luthier J.D Glass, a recording contract with Fleur de Son, and a return engagement with the BPO. He also won the Audience Favorite Award, and the Musicians Award.
Buffalo Philharmonic Wins ASCAP Award for Adventurous Programming,
The Buffalo Philharmonic received its second consecutive ASCAP Award for Adventurous Programming at the 2014 League of American Orchestras National Conference. In the
Buffalo Philharmonic’s Gliere Symphony No. 3 Earns Five Stars from BBC Magazine
The BPO’s recording of Reinhold Gliere’s Symphony No 3, which the BPO had performed at Carnegie Hall as part of the Spring for Music Festival, earned a Five Star Review and “Pick of the Month” from BBC Music Magazine, saying “...Falletta and her excellent orchestra give a visceral account of the score projecting its wide range of moods, from mystery and enchantment to violence and tragic intensity,” This disc also received a
Buffalo Philharmonic Reports Record Subscription Sales
The BPO shattered its subscription sales record, in both dollars and number of subscribers.Subscription sales for the
BPO Receives ASCAP Award for Adventurous Programming
The Buffalo Philharmonic Orchestra was honored with a 2012-2013 ASCAP Award for Adventurous Programming at the League of American Orchestras 68th National Conference in St. Louis, Missouri. The BPO, which performed two world premieres by Eric Ewazen and Geoffrey Gordon, and works by Michael Daugherty, Cristos Papageorgiou and Giya Kancheli this past season, was selected for the Adventurous Programming of Contemporary Music award. The BPO won this award previously for its 2010-11 season. “The Buffalo Philharmonic Orchestra has had a deep, longstanding commitment to new music, and it’s a commitment that the musicians and I share,” said music director JoAnn Falletta. “It’s a great joy to showcase modern composers and to help audiences understand that classical music is a living art form that continues to evolve. We’re honored that this commitment has received national recognition.”
JoAnn featured in WFMT Radio Network Documentary on American Composer Jerome Moross
In honor of the 100th anniversary of the birth of American composer Jerome Moross, WFMT Radio Network and the estate of Jerome Moross produced a two-hour radio documentary, JEROME MOROSS: The Big Country and Beyond featuring an interview and recordings of his works led by JoAnn Falletta. The broadcast will be available on classical music radio stations throughout the US and internationally beginning August 1 as part of a year-long celebration of the composer. Other highlights of the centennial celebration include a live performance of Moross’ 1st Symphony by JoAnn Falletta and the Buffalo Philharmonic in April 2014 and the reissue by Albany Records of two Moross recordings by JoAnn - Moross Symphony No. 1 with the London Symphony and Frankie and Johnny with the New Zealand Symphony Orchestra.
The WFMT broadcast is produced by British radio documentarian Jon Tolansky, and narrated by Grammy award-winning artist, Michael Feinstein. JoAnn singled out Moross in her recent NPR interview on the Great American Symphony, saying “Moross lavished sterling craftsmanship on his four-movement symphony. Reminiscent of the wide spacing and tonal purity of Copland’s works, Moross brings his own accessible humor to the symphonic form.” In a recent review of the London Symphony reissued disc, Audiofile Audition raves “the recording still sounds excellent, as are the performances. Obviously Falletta believes in Moross.”
More Info on the Jerome Moross Centennial
More Info on WFMT
JoAnn on NPR’s All Things Considered July 3
Throughout the summer, NPR’s All Things Considered will ask a variety of composers, conductors and critics to help think about the state of American symphonic music—Is the music still viable? Who writes symphonies in America these days? And who hears them? What relevance do they have in the American artistic landscape?
JoAnn Falletta is scheduled to offer her thoughts about the American symphony Wednesday, July 3 both in an essay she wrote especially for this project and in a discussion she’ll have on All Things Considered with host Robert Siegel.
Read the Essay
BPO ‘Rocks The House’ and More Rave Reviews for BPO Carnegie Hall Performance at Spring For Music Festival
JoAnn and the Buffalo Philharmonic Orchestra performed to a record crowd at Carnegie Hall for the Spring for Music Festival on Wednesday May 8, 2013. The all-Russian program included Kancheli’s “Morning Prayers” from Life Without Christmas and Gliere’s monumental Symphony No. 3 in B minor, “Il’ya Muromets”. The concert is available online for on-demand streaming at www.wqxr.org
Here are excerpts from some of the concert reviews and other media reaction:
Ms. Falletta provided clear shape and trajectory. JoAnn Falletta paired two works that showed contrasting facets of life and art in the Soviet Union: “Morning Prayers,” by the contemporary Georgian composer Giya Kancheli, and the Russian composer Reinhold Glière’s Symphony No. 3 (“Ilya Muromets”).With Glière’s family listening in Moscow via the WQXR web page (at wqxr.org), the Buffalo players performed alertly and eloquently, offering an account to savor.
Read the Full Review in The New York Times
As they took the stage at ornate, lovely Carnegie Hall, the Buffalo Philharmonic Orchestra’s musicians were pumped like the Bills before a big game. They were primed to tackle the massive Symphony No. 3 by Reinhold Gliere, a work rarely performed because of its outrageous demands.The musicians’ hard work was worth it, because the effect was magical.
Read the Full Review in the May 9, 2013 edition of The Buffalo News
Buffalo has an "an extraordinarily well-tuned instrument that routinely makes Buffalo proud...Music Director JoAnn Falletta, surveying the hall packed with Buffalonians, said, “If you have an orchestra more beloved than the BPO, I can’t imagine it.” She deserves much credit for making it so. It was a great moment for the BPO, performing the difficult and rarely heard Symphony No. 3 by Reinhold Gliere. And it was a moment of surpassing pride for Buffalo.
Read the Full Editorial in the May 10, 2013 edition of The Buffalo News
Conductor JoAnn Falletta, a native of Queens, has turned out to be not only a stalwart of Buffalo but a terrific, energetic leader. Add to that their Concertmaster, Michael Ludwig, a fine soloist in his own right, who, like the BPO, is a recording artist with Naxos, and obviously keeps the orchestra playing well. The BPO is about to record the Glière Symphony for Naxos Records. If they can summon up half the excitement that they produced in last night’s live performance, methinks it can be another triumph for this splendid group.
Read the Full Review at ConcertoNet.com
JoAnn Appointed Principal Guest Conductor of The Phoenix Symphony
The Phoenix Symphony’s Board of Directors announced the appointment of Maestro JoAnn Falletta as The Phoenix Symphony’s Principal Guest Conductor for the 2013/14 season. “We are fortunate to have someone of Maestro Falletta’s stature and standing in the orchestral community join us as our Principal Guest Conductor,” said C.A. Howlett, Chairman of The Phoenix Symphony Board of Directors. “Our partnership with Maestro Falletta speaks volumes about the ability of The Phoenix Symphony to engage the world’s foremost musical talents for the benefits of Arizona audiences,” said President and CEO Jim Ward. Falletta will conduct four programs during The Phoenix Symphony’s 2013/14 Classics Series, Coffee Classics Series and Scottsdale Series as well as Lang Lang’s special one-night-only performance at Symphony Hall.
JoAnn to Receive Virginia Women in History Award
The Library of Virginia has announced it will honor JoAnn Falletta, along with seven other awardees—past and present—with the Virginia Women in History Award. The honor recognizes outstanding Virginia women who have made important contributions to Virginia, the nation, and the world. A ceremony and reception will be held at the Virginia Library in Richmond at 6pm on Thursday, March 28, 2013.
JoAnn Falletta talks to Gail Wein about her new Duke Ellington CD
Listen as JoAnn Falletta talks with Gail Wein for this Naxos podcast about her recording with the Buffalo Philharmonic of Duke Ellington’s music for orchestra. The recording brings together Ellington’s Harlem, Three Black Kings, The River, and Black Brown and Beige and includes as an encore the Ellington band’s iconic theme song, Take the A Train. JoAnn calls Duke Ellington one of the greatest artists of the 20th century, and a composer who single–handedly elevated jazz to a level of artistry comparable to all the other art forms, saying “The music is very beautiful; it’s very symphonic, very orchestral.”
Tim Handley, Producer of Many Falletta Naxos Recordings, Nominated for 2013 Producer of the Year Grammy Award
Body of Work Cited for Nomination Includes Four Recordings with Falletta
December 13, 2012: JoAnn Falletta congratulates producer Tim Handley on his nomination for the 2013 Producer of the Year Grammy Award. The body of work for which he is being nominated includes four recordings on the Naxos label with Maestro Falletta leading four different orchestras. Says Falletta, “I have always been very proud to work with Tim Handley, whose musicianship, intelligence and extraordinary recording skills have always produced CDs of superb quality. I am thrilled that four of our recordings are included in the body of work for which he has been nominated for a GRAMMY as best producer.” The 2013 honors will be handed out at a ceremony in Los Angeles on February 10.
Mr. Handley’s Naxos collaborations with JoAnn Falletta that are cited for the nomination are Ken Fuchs: Atlantic Riband, American Rhapsody, Divinium Mysterium (JoAnn Falletta, Paul Silverthorne, Michael Ludwig & London Symphony Orchestra); Gershwin: Piano Concerto In F; Rhapsody No. 2, I Got Rhythm Variations (Orion Weiss, JoAnn Falletta & Buffalo Philharmonic Orchestra); Hailstork: An American Port Of Call (JoAnn Falletta, Virginia Symphony Chorus & Virginia Symphony Orchestra); and Holst: Cotswolds Symphony, Walt Whitman Overture (JoAnn Falletta & Ulster Orchestra). According to the category description guide for the 52nd Grammy Awards, the award is presented to album producers “whose recordings, released for the first time during the eligibility year, represent consistently outstanding creativity in the production of classical recordings.” Mr. Handley, who won Producer of the Year in 2006, was nominated in 2011 for recordings that included music of Dohnanyi and Richard Strauss by the Buffalo Philharmonic and JoAnn Falletta. Their upcoming collaborations include a disc of music of Duke Ellington by JoAnn Falletta and the Buffalo Philharmonic scheduled to be released on the Naxos label in February 2013.
More Info About the Grammy Awards
Mannes College and BPO Partner to Give Student Conductors Real World Experience
Mannes College The New School for Music and the Buffalo Philharmonic Orchestra have announced a unique and innovative partnership to give up-and-coming conductors professional experience with a leading American orchestra. Student Conductors-in-Residence from Mannes College will serve as cover conductors for the Philharmonic, and will have the opportunity to participate in artistic decisions and orchestra management. For the BPO and Mannes this partnership is an important evolution in the curriculum for training conductors.
“We feel strongly here at the BPO about our role to help advance the careers of young musicians and our partnership with Mannes represents a major breakthrough,” said BPO Music Director JoAnn Falletta, who received her undergraduate degree from Mannes. “The young conductors of Mannes will have an outstanding opportunity to work directly with our conductors, staff and musicians to gain the type of real world experience that will definitely make a difference in their careers.”
JoAnns Musicians Diary featured in August Gramophone
JoAnn is featured in Gramophones August edition of Musicians Diary, where she describes her joy in recording the little known works of Gustav Holst with the Ulster Orchestra for Naxos, and in exploring the charms and history of her new UK home in Ulster.
Read the Article
Turkish Guitarist Wins 2012 JoAnn Falletta International Guitar Concerto Competition
Petrit Ceku, of Croatia, came in second, and Ekachai Jearakul, of Thailand, was third.
Kaya’s prize is $10,000, a valuable Spanish guitar, a return performance with the Buffalo Philharmonic and engagements with the Round Top Music Festival in Texas and the Virginia Symphony.
Ceku took the $3,500 second prize, and Jearakul took the $1,000 third prize. Ceku won musicians and audience awards as the top guitarist in separate voting.
Says JoAnn Falletta, All three finalists were fabulous. The quality of this years competition was top notch and I think the best ever. I am looking forward to Celil’s performances with Buffalo, Virginia and Round Top.
The next JoAnn Falletta Guitar Competition will be held in 2014, at which prizes for the winner will include a performance at Carnegie Hall.
One of the finest conductors of her generation.
The New York Times
One of the brightest stars of symphonic music in America.
Los Angeles Times
Falletta conducted with a controlled frenzy worthy of Bernstein. Falletta has won conducting awards named for Toscanini, Walter and Stokowski. That seems appropriate as her podium work draws on the legacy of all threeToscaninis tight control over ensemble, Walters affectionate balancing of inner voices, and Stokowskis gutsy showmanship.
The Washington Post
JoAnn Falletta’s commitment to modern orchestral repertoire is exemplary. It is beyond rare for a major symphony to tackle a new work of this magnitude and with the resulting level of excellence and interpretation one gets with the London Symphony Orchestra. This is another great release in Naxos’s continuing support of modern American music and an accessible new symphony worth one’s time. A wonderful introduction to a great symphonic American voice.
Cinemusical, February 2015, Review of Gallagher, Symphony No. 2 “Ascendant” (Naxos American Classics, London Symphony)
The orchestral writing is brilliant. The playing in all three works is magnificent, and the orchestral accompaniment to Falling Man under JoAnn Falletta, in particular, will have thrilled the composer.
International Record Review, Feb. 2015, Review of Falling Man. Movie House. Songs of Innocence and Experience (Naxos American Classic, London Symphony, Roderick Williams, Baritone)
The music of Jack Gallagher has previously been welcomed in these pages (making the Want List in 2011). It is not difficult to hear why: this is expertly scored, exuberant music. Gallagher is fortunate indeed to have the London Symphony at his disposal under JoAnn Falletta. The recording, too (Tim Handley and Phil Rowlands) is top rank, meaning that detail comes through perfectly. All credit to Falletta for presenting Gallagher’s scoring so effectively.
Fanfare January 2015, Review of Gallagher Symphony No 2 (Naxos, London Symphony Orchestra)
One of the most beautiful concerts of winter in Milan. A performance of the highest level!
CORRIERE DELLA SERA, December 2014, Review of Stuttgart Philharmonic Concert in Milan
This is a welcome addition by the Ulster Orchestra and JoAnn Falletta to the recording of Moeran’s orchestral rhapsodies … this new recording has a vibrancy and precision which is thoroughly beguiling. …Falletta brings a vivacity and enthusiasm to these works which is infectious.
Gramophone 2014 Review of Moeran in the Mountain Country (Naxos)
GLIÈRE, R.: Symphony No. 3, “Il'ya Muromets”, Buffalo Philharmonic (Naxos) International Classical Music Awards Nominee, American Record Guide Critic's Choice, MusicWeb Recording of the Year, Fanfare Want List, BBC Music Magazine Orchestral Choice, Resmusica Clef Du Mois
…this interpretation is the real thing; the energy, enthusiasm, and grandeur of Falletta’s reading are graphic evidence of her love of this music. It sounds exactly like long pent-up admiration finally released. Her interpretation is a few minutes faster than most, but her control over the work’s proportions is so sure that nothing sounds rushed or skimped. From the bravado of I, through the exotic lushness of the forest music in II to the ghostly tread introducing IV, she doesn’t miss a detail or nuance. The Buffalo orchestra valiantly responds to her leadership all the way.
American Record Guide, 2014
Pride of place this year goes to JoAnn Falletta’s magisterial new recording of Glière’s Il’ya Muromets. This is not quite unknown territory, but the work—especially in its uncut form—is rarely performed and rarely recorded, not only because of the large forces involved, but even more because, in lesser hands, it can so easily sound over-extended. No one has a better sense of its overall dramatic structure than Falletta—and no one has a cannier r sense of the flavor of its special sound world. A classic.
JoAnn Falletta is a keen admirer and has an excellent ear not merely for clarifying and controlling the orchestral sumptuousness but for articulating the events dramatically. Her forces cast themselves into the fray with enthusiasm and virtuosity, and the recording engineers rise to some quite demanding occasions.
The performances are without exception marvelous. Falletta and the London Symphony need no Introduction; neither do soloists like violist Paul Silverthorne and cellist Tim Hugh, while the Recording of the orchestra is one of Naxos’s best. Performances and recordings couldn’t be better. Recommended, recommended, and recommended.
Fanfare Magazine, Review of FUCHS Atlantic Riband (Naxos, London Symphony Orchestra)
This recording is not just a testimony to the professionalism of the orchestra; it is a vital interpretive document confirming Falletta’s position among the foremost conductors of our time.
Fanfare Magazine, Review of MAHLER Symphony No. 8, “Symphony of a Thousand”, (Hampton Road Classics, Virginia Symphony Orchestra)
TYBERG, M.: Symphony No. 2 / Piano Sonata No. 2 (Bidini, Buffalo Philharmonic, Falletta, Naxos)
Falletta and the Buffalo Philharmonic deliver a performance that is so committed and radiant that it ought to attract the attention of other music directors here and abroad.
American Record Guide, 2014
Discovered by JoAnn Falletta and recorded by the Buffalo Philharmonic Orchestra, of which she is the conductor, the second Symphony of Marcel Tyberg reveals the existence of the composer who was an Austrian victim of the Holocaust in 1944. The work recalls Bruckner in its eloquent power and Dvorak in its tenderness. To complete the CD: the second piano Sonata of the same Tyberg, majestically Brahmsian in the hands of Fabio Bidini.
La Presse, 2013
The performance could hardly be bettered: JoAnn Falletta and the Buffalo Philharmonic are completely at home in this music and they are very well recorded.
A vigorous, rollicking 2014-15 season opener, full of Russian melodrama and American enthusiasm. The much-admired JoAnn Falletta returned as guest conductor and took complete ownership of the occasion".
Courier and Post Review of Charleston Symphony Season Opening Concert 2014.
Rarely has an orchestra sounded so purely beautiful in sound, balance and clarity. Falletta, who has been at the helm of the band for nearly 15 years, had beyond a solid regional presence and, with recordings and tours, turned it into a truly international one...
Palm Beach Daily News review of Buffalo Philharmonic Florida tour 2014
Falletta and her excellent orchestra give a visceral account of the score projecting its wide range of moods, from mystery and enchantment to violence and tragic intensity.
Five Stars, BBC Music Magazine review of Buffalo Philharmonic Gliere Symphony No. 3 (Naxos)
This fine new issue offers Paine’s Symphony No. 1 along with an overture and a suite of incidental music. Paine’s music is always pleasant, occasionally moderately exciting and always well-orchestrated. This music is well worth hearing, and surely these splendid performances by the Irish orchestra directed by JoAnn Falletta. These recordings were made October 2012, and the engineering is excellent. This is a major release in the discography of 19th Century American music.
ClassicCDReview.com, April 2014
This new recording has a vibrancy and precision which is thoroughly beguiling. ...Falletta brings a vivacity and enthusiasm to these works which is infectious.
Gramophone Magazine, April 2014 review of Moeran, In the Mountain Country, Ulster Orchestra, Naxos
JoAnn Falletta has single-handedly expanded the 20th-century repertory substantially.
The performance of Moeran’s Cello Concerto is thoroughly engaging and the lyrical digressions along the way are done with fine feeling. Guy Johnston and JoAnn Falletta show it in the best possible light. The music speaks eloquently, courtesy of the audio-engineering choices of Tim Handley and John Benson. A very impressive disc.
MusicWeb International, Review of Moeran Cello Concerto, Ulster Orchestra (Naxos)
Ms. Falletta provided clear shape and trajectory. The Buffalo players performed alertly and eloquently, offering an account to savor.
The New York Times review of Carnegie Hall performance, May 2013
The Carnegie Hall performance was a great moment for the BPO, performing the difficult and rarely heard Symphony No. 3 by Reinhold Gliere. And it was a moment of surpassing pride for Buffalo.
Buffalo News Editorial, May 2013
JoAnn Falletta is a terrific, energetic leader. [Her Carnegie Hall performance with the BPO of Glière’s Symphony] was a triumph for this splendid group.
Ildebrando Pizzetti’s 1929 tone poem “Rondo veneziano” under Falletta’s baton was absolutely resplendent. We are indebted to her for introducing Pizzetti to the Buffalo audience. The Buffalo Philharmonic Chorus and Immaculata Academy Vox Caeciliae share the taxing choral parts in Boito’s “Prologue in Heaven” superbly, bringing the concert and the BPO season to a thrilling close.
Read the full review in the June 1, 2013 edition of the Buffalo News
I love Falletta’s approach to Gershwin, and the Buffalo orchestra’s long term relationship with the composer shows in the playing. Stunning sound, and most strongly recommended.
David’s Review Corner
Review of George Gershwin: Rhapsody in Blue with the Buffalo Philharmonic, Orion Weiss and John Fullam, soloists (Naxos)
Simply watching JoAnn Falletta leaves one spellbound and that is before one even considers the sounds which she elicits. It was wonderful to listen as the American directed the Krakow orchestra with rare precision and attention to detail. Her every gesture demonstrated control and sensitivity. The orchestra sounded extraordinary.
Gazeta Wyborcza review of Krakow Philharmonic
Falletta has done a great service to concert-goers by offering some of the most interesting programming to be found anywhere in America.
Gramophone Magazine, Letter to the Editor
Falletta’s performance is wonderfully sensitive and perfectly scaled. Clearly there is some good chemistry going in Ulster between its fine orchestra and the new American principal conductor. One can only hope that there will be many more releases like this in the future, and in the superb sound provided by the Grammy-winning producer and engineer, Tim Handley and Phil Rowlands. Definitely a winner.
Review of Holst, Walt Whitman with the Ulster Orchestra (Naxos)
An excellent reading of this much recorded work (Dvorak, Symphony No. 9) ... The phrasing is exceptional and the contrasts between the big themes in each movement both appropriate and logical. Falletta is a very musical and perspicacious conductor who is able to sell her concept to the orchestra and elicit the proper results.
Review of Dvorak, From the New World with the BPO (Beau Fleuve)
JoAnn Falletta, complete master of the musical material and of the orchestra itself, sculpted this sumptuous score (Marcel Tyberg, Symphony No. 2) with incisive timing, effectiveness and elegance, creating a vibrant musical fresco, compact, with wise coloration and engaged expressivity. This is a concert destined to be written in golden letters in the annals of musical life in Fiume, not only because of its high intrinsic excellence, but also because it signals the rediscovery of a composer of importance who was unjustly forgotten.
La Voce Del Popolo
Fiume (Rijeka) Croatia
Austrian composer Marcel Tyberg died in Auschwitz in 1944, shortly after creating his Third Symphony in D Minor (1943). Before his death, he entrusted his manuscripts to Milan Mihich, a physician who studied with Tyberg, who later took them to the United States for safekeeping. But the symphony lay dormant, only receiving its world premiere in 2008, after Mihich’s son, Enrico, showed the score to JoAnn Falletta. She recognized its worth and programmed it with the Buffalo Philharmonic Orchestra. Now the fruits of her work are audible on this valuable new recording, shedding light on a composer who—like others who perished similarly—is only being recognized decades after his death. The excellent recording was made in Buffalo’s Kleinhaus Music Hall.
Review of Tyberg Symphony No. 3 and Piano Trio with the BPO (Naxos)
JoAnn Falletta, Principal Guest Conductor, pianist Norman Krieger, and the Brevard Music Center Orchestra worked their collective magic to create a most memorable opening concert in Brevard Music Centers Whittington-Pfohl Auditorium. Fallettas motions on the podium are of such economy they effectively direct without attracting undue attention to her. Her emotional investment in the music and personal warmth were obvious to the observer and she is a master of stylistic differentials on many levels. She is eager to bring unfamiliar music to audiences ... Falletta led the orchestra in an electrifying performance.
Read the full review.
Laura McDowell, Classical Voice North Carolina, June, 2012, Brevard Music Center Orchestra
Here the trio of soloists and orchestra under JoAnn Falletta takes a more intimate, chamber-music approach [compared to the Hall of Fame Järvi recording], one that pays special dividends in the Largo, which falls on the ear with the blissful serenity of an all-forgiving benediction. No cellist has ever played the opening strains more rapturously than László Fenyő. This is a performance of the Triple Concerto to cherish, not to the exclusion of Järvi, but as a different and equally rewarding way of hearing the work .... The performance [of the Beethoven Choral Fantasy] by Rubackytė, the Lithuanian National Symphony Orchestra, and the Kaunas State Choir under Fallettas direction, is as good as it gets.
Review of BEETHOVEN Concerto in C for Violin, Cello, and Piano
Triple Concerto, Choral Fantasy, Doran January 2012
The disc’s centerpiece is Wieniawski’s Violin Concerto No. 2, with Concertmaster Michael Ludwig as soloist. Ludwig ... threw himself into this music, and BPO Music Director JoAnn Falletta and the orchestra followed suit, and the result is as good a performance of this beautiful and virtuosic masterpiece as I think you will find anywhere. Szymanowski’s “Concert Overture” jumps out at you in brilliant sound. ... The BPO, with its feel for late Romanticism, gives the music a full and passionate sound. Lutoslawski’s “Concerto for Orchestra” is thrilling, with its assertive, percussive opening theme and the exotic concluding toccata, which starts deep in the basses and builds from there. Karlowicz’s “A Sad Tale,” recorded this past November with the Wieniawski, brings us back into lush Richard Strauss Romanticism. Four stars.
Mary Kunz Goldman, Buffalo News, January 2012)
This may have been the best we have heard the CSO play, and much of the credit goes to Maestro Falletta for her understated precision, her inspired leadership, and her willingness to let the musicians shine ... how incredibly fortunate our entire arts community is to host such a highly acclaimed conductor who is also an extremely kind, generous, and loving person.
CharlestonToday.net, January 2012
A gripping, lovingly detailed performance of Tchaikovskys Fourth Symphony. Falletta brought a wonderfully organic feeling for both structure and
Dallas Morning News
JoAnn Falletta made an impressive, dynamic, and well-paced debut with the [Royal Scottish National Orchestra]. Mendelssohns Scottish Symphony, though big-boned in the gigantic space, demonstrated Fallettas fine control of tension and breadth.
The Herald (Glasgow, Scotland)
I spent a day with [the Buffalo Philharmonic Orchestra] in mid-March, and was thrilled with what I both saw and
Henry Fogel, On the Record, Exploring Americas Orchestras
Falletta marshaled the Philharmonic to play at the very top of its game in this difficult score [the Corigliano Red Violin]. The orchestra sounded warm-toned and tightly disciplined in Beethovens Ninth Symphony as well. Falletta balanced fleet tempos and weighty utterance in the first two movements, eased the metronomic gallop evocatively to let melodies and expression breathe in the final two movements, drew uncommonly elegant and nuanced work from the Philharmonic Chorale, and finished off with a thrilling treatment of the coda.
The Washington Post
Fallettas splendid outing with the [Utah Symphony] in Abravanel Hall Friday certainly merits serious
The Salt Lake Tribune
Falletta, with sweeping arm gestures and obvious connection on a personal level to the depth of the music, drew out the best of every section of the Orlando Philharmonic Orchestra, balancing all sections of the orchestra with absolute mastery.
Falletta is a model of efficiency and technical prowess and was always fascinating to watch. The raw quality of the cheering was of a different character than usually heard at the symphony. It was more like at a rock concert or a football game, events where Americans arent afraid to express themselves loudly and often.
TimesUnion.com (Albany, NY)
JoAnn Falletta has a gift for programming. The Symphony Nova Scotia players ignite under a fiery conductor like Falletta (and) played brilliantly for her.
Chronicle Herald (Nova Scotia)
Fallettas passion for the nights music was evident throughout the performance, her enthusiasm spilling over into the orchestra and to the audience, which treated the performers to a number of well-deserved standing ovations.
Deseret Morning News (Utah)
Falletta really gets the big picture of the Bruckner Ninth. The huge blocks of sound were always traversed with a compensating smoothness of line and an unerring balance between the dominant string and brass incantations. Fallettas sure control made the [third movements] many tenuous, wandering sections seem like one long, mystical musical thought process.
Falletta displayed ample evidence of her precise command and engaging personality as she flawlessly sailed through a folk-infused program....
The Star Ledger
Falletta conducted a thrilling reading, with all the big climaxes so expertly prepared that when they arrived, the terror associated with death was viscerally felt.
The Virginian Pilot
Guest conductor JoAnn Falletta led the performance, joined by two guest soloists: violinist Michael Ludwig and pianist Benjamin Loeb. The results were memorable and excellent in every way.
Petite, slender and attractive, Ms. Falletta is a musical giant, leading the Symphony with bold and fiery vigor.
Classical Voice of North Carolina
The Chamber Orchestra of Philadelphia gave one of its best concerts under JoAnn
The Philadelphia Inquirer
The five compositions received exactly what they needed from Falletta and the orchestra. Finesse and charm in the [Mendelssohn Overture], expressiveness in the [Zwilich Concerto Grosso] and power next to concentration in the [Chen Yi Duo].
What a triumphant return it was. Working without score, Falletta drove the [Denver Chamber] Orchestra through every grand sweep of Viennese opulence, handling those time-stretching rubatos with taste and immaculate timing, and drawing out some of the most sumptuous playing heard this season.
Rocky Mountain News
JoAnn Falletta is such a delight, both on cd and in performance. The energy levels and joy she exudes is infectious for all involved.
JoAnn Falletta, the vivacious director of the Buffalo Philharmonic, was an inspired choice to conduct [the Royal Liverpool Philharmonic], maintaining the hypnotic momentum without letting [the Talbot Trumpet Concerto premiere] feel rhythmically unyielding.
The Guardian (Liverpool, England)
JoAnn Falletta led a striking performance of Berliozs Symphonie Fantastique.
Liverpool Daily Post
Brilliance from Buffalo in Respighis rich orchestration. The Buffalo Philharmonic under music director JoAnn Falletta is treated to warm and spectacular recording, apt for such exotica.
Respighi, Church Windows CD, Gramophone Editors Choice, February, 2008
An absolute smoker of a performance. Conductor JoAnn Falletta captures the musics volatile emotions and youthful energy in frill measure. In short, weve struck 64 minutes worth of Brahmsian gold from an unlikely and often provocative source.
Gramophone, Brahms Piano Concertos, Norman Krieger, Pianist, Virginia Symphony Orchestra
One of todays most talked about conductors, JoAnn Falletta, obtains highly coloured backdrops from the Royal Scottish National Orchestra and the sound is superb.
Yorkshire Post, Dohnanyi: Violin Concertos, Michael Ludwig, Violin, RSNO
All I can say is I am glad I heard this disc, for in its intelligent planning, its superb recording, and its dedicated playing it puts forward one of the best cases for Respighis music I have heard in years. It is perhaps the sensitivity that Falletta garners from her Buffalo forces that impresses most of all. She can take her orchestra down to the merest whisper (perfectly captured in Producer Tom Shepards recording; try The Matins of Saint Clare), and sustain a restrained tension for uncannily long passages.
Fanfare Magazine, Respighi, Church Windows, BPO
[Violinist Michael Ludwig, pianist Muza Rubackyte and cellist Laszlo Fenyo] strike a fine balance with the Lithuanian orchestra under Fallettas guiding hand to produce the kind of warm, bracing lyricism that makes Beethovens music
Beethoven: Triple Concerto;Choral Fantasy CD, Naxos, American Record Guide Nov/Dec 2011
A recording I would readily choose over
Fanfare Magazine: Bruch, Scottish Fantasy, Michael Ludwig, violin, VSO
A sort of Gershwin Concerto in F for the new millennium [that] keeps an irrepressible spirit connected with both the Roaring 20s and todays Generation X.
Audiophile Audition, Schoenfields Four Parables (Black Box)
Everything came together thrillingly in the final movement of Rachmaninoffs 1940 Symphonic Dances, Op. 45, and the Buffalo Philharmonic Orchestra under the baton of JoAnn Falletta ended Saturdays concert in a blaze of
Falletta led off with a vivacious performance of Kodalys Dances of Galanta and closed with Zemlinskys Die Seejungfrau (The Mermaid), in which she and the orchestra transmuted an exceptional level of musical detail into vivid and touching storytelling. The response of the audience was rapturous. A list of the dozen best American conductors today would contain several names that would also have appeared 25 years ago. But it would also now include Falletta.
I happened to attend the Buffalo Symphonys concert at Carnegie Hall last Sunday, in which conductor JoAnn Falletta stirred a hard-boiled Big Apple crowd to many standing ovations and an encore. Falletta has inspired this orchestra to an impressive level, blurring the category of the Big Five. Falletta and Curtis-trained Atlanta Symphony conductor Robert Spano are shining lights on the American-born conducting scene.
Philadelphia Daily News
One of the worlds leading female conductors. Under Falletta the ensemble moved briskly along with a kind of athletic élan.
The New York Times
Falletta immediately won listeners
Mannheimer Morgen (Germany)
The beautiful surprise of the afternoon came from with an absolutely coherent fourth Symphony of Brahms under the baton of JoAnn Falletta. The movements were perfectly sculpted with a very beautiful equilibrium and melodies that were filled with emotional but never artificial. Without a doubt influenced by the interpretations of Kleiber and Berglund in the same material, JoAnn Falletta clarified the sonority by opting for tempos that were quite brilliant.
Le DevoirMontreal, Canada
A delightful performance [with] the unusual musicianship of Ms. Falletta who has both the calmness to create long melodic bows as well as the temperament to turn passion almost into an ecstasy of sound.
Ruhr Nachrichten (Dortmund, Germany)
Ms. Falletta is on most critics short lists of exciting young conductors, and its easy to see why. Her musicianship is flawless.
St. Louis Post-Dispatch
GriffesOrchestral WorksEditors Choice CD. Conductor JoAnn Falletta is completely sympathetic throughout and there are neatly delivered solos from many of the Buffalo players. This is a revelatory Griffes
JoAnn Falletta showed such authority, such caring for detail, such tenderness, such intelligence that [Coplands Appalachian spring] seemed to open itself to reveal all of its virtues. A 10 for Falletta.
Buffalo has preposterously harsh winters, but it is worth braving blizzards to hear its fine orchestra. Falletta and the Buffalonians pour an ample portion of polished gorgeousness over Griffess scores.
International Record Review
I dont know how she does it, but any new CD by conductor JoAnn Fallettalike her latest of music by Charles Tomlinson Griffes on Naxosis a revelation.
Philadelphia Daily News
With any justice, Falletta would be a household name by nowshe has done splendid work for more than two decades and brings out the best in any ensemble she takes on.
Widely known for her concerts with the same orchestra at Lanaudiere, JoAnn Falletta returned to us in great form (for her official Montreal debut) for a Brahms Fourth Symphony that proved yet again that this American maestra is one of the phenomena of the music world. One should take advantage of the experience of seeing her in concert at any price to witness it: such force, such authority, such virility (notwithstanding what a delicate woman she is), a network of sound that is at the same time carefully sculpted and free, and a rare degree of organic communication with the orchestra that makes us hope that she might be on the list to succeed Charles Dutoit.
She was best when precipitating an ecstatic moment, inspiring an emotional candidness from the
First, it proved that it could play such thick, intricate music lucidly. I wouldnt be surprised if this were the thorniest and lushest score of its size and reach that Long Beach has ever attempted. It proved, secondly, that conductor JoAnn Falletta can command Schoenbergs epic
Los Angeles Times
Ms. Falletta is a demonstrative, kinetic conductor, and her
The New York Times
The New York Times
The program presented here
American Record Guide
Although JoAnn Falletta undoubtedly had only a few hours to rehearse the London Symphony Orchestra before proceeding to the studio, the performances are impressive, with fine rhythmic precision and passionate sweep.
The New York Times
[Fallettas CDs] represent only the tip of an iceberg that Maestro Falletta is revealing to us, both on record and in the concert halls across our land. For her dedication on behalf of contemporary American music, we express our sincere gratitude and encouragement, and we acknowledge her artistic excellence with deep appreciation.
Falletta leads her orchestras with clarity and precision, often producing performances that are remarkable for their combination of raw power and rare sense of proportion.
The Washington Post
Falletta was superb, bringing out the best and most clarified music from the orchestra, exuding passion for this romantic work with impeccable control.
China Daily (Beijing)
One of the most impressive, musically intelligent and professional conductors.
San Francisco Examiner
Falletta kept the orchestra beautifully in check. It was a stunning and satisfying performance, to please even the most hardened Mahlerite. Equally impressive was the Philharmonics rugged performance of Sibelius First Symphonya reading full of verve and passion.
Let your friends listen to these works [on the BPOs Griffes CD]. They will be enchanted and surprised to learn of this American music. A success that testifies once again to the excellence of the Naxos American Classics series.
No more than five seconds into her traversal of the Symphonic
San Antonio Express-News
I am not going to beat around the bush: the revelation of the evening was the guest conductor, New Yorker, JoAnn Falletta, a young woman who did not cease to astonish me by her energy, her precision, her conducting which was both supple and convincing, and which made the orchestra play in a manner that was exceptionally transparent and detailed. Once again, JoAnn Falletta captivated the audience with her confidence, and intelligent range of her conducting.
JoAnn Falletta revealed herself as a genuine orchestral conductor. Her gestures were always energetic, expressive and effective, impeccably combining a rigorous beat with ample and generous gestures. With Falletta, one could feel an obvious love of the music, and the style she employed communicated every moment with the orchestra and, at the same time, with the audience.
It must be said that the direction by JoAnn Falletta and the playing of her Buffalo Philharmonic [on the new Griffes CD] are beyond praise. This orchestra has played an important part in recording much of what is good in American
Balancing nuts-and-bolt conducting with inspired leadership is tricky. Falletta provided the right combination, giving the orchestra plenty of guidance while encouraging spirited, touching musicality.
The concert marked the Philadelphia Orchestra debut of JoAnn Falletta, music director of the Buffalo Philharmonic and Virginia Symphony. Her baton technique is extremely clean and her elbow rhythmically eloquent.
The Philadelphia Inquirer
Falletta did a spectacular job bringing together all the different musical forces into one powerful performance.
The Daily Press
Falletta is surely destined for classical music superstardom.
Rocky Mountain News
Apparently born to conduct, she sends all the right messages from the podium. Most important, she seems to create superior playing and clarified performances from the orchestra.
Los Angeles Times
A large, attentive, enthusiastic crowd packed Alice Tully Hall, perhaps as much to see conductor JoAnn Falletta as to hear the music itself.
JoAnn Falletta proved that she ranks as one of the top young conductors in the country today. Fallettas every gesture and nuance seemed to perfectly express the symphonys canvas of emotions. No detail was too much for Falletta to ask of the orchestra and the result was an object lesson in artistry. In the Turina Falletta proved she is a dramatist as well as a poet, with engagingly artful shifts of mood and a firm command of the works rhythmic complexities. If, as rumor has it, Falletta is auditioning for the Honolulu Symphonys top job, she won scads of votes with Sundays performance.
JoAnn Falletta may be diminutive in stature, but shes a commanding presence on the podium. The most impressive part of Saturdays program was her dramatic and expansive reading of the Symphony No.5 by Prokofiev. Her deliberate tempo in the first movement gave the music an extra-weighty flow, culminating spectacularly in a broad, muscular and percussive climax. This overall measured pace was ever-flexible on a local level, however pointing up details in the massive architectural design. The orchestra played brilliantly throughout, with responsive energy, clear textures and alert give-and-take.
Los Angeles Times
[The Verdi Requiem] was a powerfully dramatic and well-paced account, sharply detailed and with all the forces integrated. Falletta achieved a rare and paradoxical state of impassioned resignationa telling performance of a major monument.
Los Angeles Times
Maestra walks softly, carries powerful
Throughout the program, she [JoAnn Falletta] showed a fabulous baton technique. The absolutely clear and amazingly clean way she used that stick (to say nothing of her intensely expressive left hand) left no doubt as to what she wanted.
New York Daily News
If there is justice, JoAnn Falletta should become a household name in the near future.
Byron Belt, Newhouse News Service
Fallettas floating, transparent textures were
The Tampa Tribune
Performances of such devotion and intensity are rare today, even in the musical capitols of the world. But when they occur, they are no accident. The gifted Falletta reminded me of the work of the late Italian conductor Guido Cantelli. She has the concentration, musical honesty, culture, clear beat, lyrical grace and force to inspire musicians to play better than they thought they could.
[Falletas debut] was an auspicious artistic event that placed Falletta among the most promising conductors of her generation. The maestros presentation of Bartoks Concerto for Orchestra was impressive by any standard. Falletta, who conducted that technically intricate and emotionally embracing music without a score, knew the music cold, inside and out. Time and again, she demonstrated her thorough grasp of Bartoks idiom, his point of view, his often-elusive purpose.
[JoAnn Falletta] is obviously a young conductor of unusual technical and communicative resources. If Schönberg performances could always reach such a high level of excellence, this music might yet sneak its way into the standard repertory.
New York Magazine
When JoAnn Falletta finished conducting the rousing Dances of Galanta, the Aspen audience gave her the full treatmentstanding ovation, stamping, whistling, and whoops of joy. I myself was tempted to shout, Holy cow! Falletta virtually danced through the piece, inspiring the Aspen Symphony to a roaring performance that nearly tore the seams out of the music tent.
Colorado Springs Gazette Telegraph
Judging from the results she [JoAnn Falletta] achieved with the Tucson Symphony, its clear that she is poised on the edge of a major, major career as a leader of orchestras.
Arizona Daily Star
[JoAnn Falletta] is, quite simply, the kind of conductor who can inspire almost any group of musicians. Her baton technique is graceful and utterly communicative, her gestures sweeping and poetic but lacking the slightest sign of exaggeration. Watching her is like watching Leonard Bernstein.
Falletta and the Denver Chamber Orchestra were incandescent. This was Mozart of grand power and brilliant ideas realized with dramatic flair.
As guest conductor of the Tucson Symphony Orchestra last night, Falletta made the orchestra sound as never before. There was a sense of passion and togetherness. Most of all, there was an articulation of nuance and overall scope that added up to thorough excitement.
Falletta strikes the ideal balance between energy and expressivity. She is heartfelt without being sentimental, passionate without being overbearing. She has highly developed musical instincts, intelligence, and a clear beat. She exudes confidence and she is committed to her art.
Orange County Register
JoAnn Fallettas leadership of the orchestra elevated the art of accompaniment to new heights. Especially in the slow movement, her grasp of the unfolding emotions, and the orchestras unerring response to her direction made the soloists sound that much better.
[JoAnn Falletas debut with the Denver Symphony] was a rare and extraordinary eventthe emergence of a new superstar!
Colorado Springs Gazette
[JoAnn Falletta] presided over her charges like the most compassionate of generals, conducting with a crystalline beat, a canny eye for entrances and releases, and an overall sense of daring.
San Francisco Examiner