Symphony #3 (Eroica)
- Gerard Rejskind, Ultra High Fidelity Magazine: This is the Métropolitains
first-ever recording and what did Rescigno select? Nothing less than Beethovens
Eroica. What is amazing is that he pretty much gets away with it. This is
a very good Eroica, conducted with rapid but not at all mechanical tempo that
doesnt skim over the strong rhythms which Beethoven was by then using
in his music. The famous three angry first notes, repeated throughout the
first movement, are firm and assertive. The dance section of the finale is
light and gorgeous, and the orchestras once-troublesome strings do themselves
proud in the Marcia funebre, in which they hold the starring role.
5 Piano Concertos
- Arthur Kaptainis, Montreal Gazette: The summit of the evening was
the incomparably poetic first movement of the Fourth Concerto, rendered on
this occasion with the widest range of colours, sentiments and tempos. ...
The Orchestre Métropolitain woodwinds listened closely and the strings
produced unisons of striking resonance in the Andante con moto. Here and elsewhere,
conductor Joseph Rescigno was an admirably attentive partner. ... The fine
swagger at the start of the Concerto No. 1 was characteristic of the dedication
Rescigno brought to his job. With Kuerti in mad professor mode through the
extra-long cadences, this movement could be counted a comic masterpiece.
I Capuleti ed I Montecchi
- Paul Griffiths, New York Times: Joseph Rescigno, conducting, does
a fine job in providing the instrumental soloists their space and in bringing
fizz to other parts of the score.
- Peter G. Davis, New York Magazine: The orchestra, led by Joseph Rescigno
sings and breaths naturally with the singers, precisely as an ideal Bellini
- Justin Davidson, Newsday: Joseph Rescigno linked these solid singers
into an ensemble, conducting with Italianate flexibility and a sense of period
- Heidi Waleson, Wall Street Journal: The City Opera chorus and orchestra,
stylishly led by Joseph Rescigno, were in fine form.
- Elaine Schmidt, Milwaukee Journal-Sentinel: Conductor Joseph Rescigno
leads members of the Milwaukee Symphony Orchestra in a sweeping performance.
- Leighton Kerner, Opera News: Conductor Joseph Rescigno, as so often
before, kept everything in good Bellinian order.
- Matthew Gurewitsch, Opera: Joseph Rescigno est parvenu à faire battre le coeur d’une partition que la minceur de son contenu dramatique rend particulièrement difficile à diriger.
Lenfance du Christ
- Tom Strini, Milwaukee Journal Sentinel: Guest conductor Joseph Rescigno
... deserves thanks for unusual and compelling Christmas fare. ... Lenfance
du Christ lasts 95 minutes, but within its circle time is suspended.
Lenfance slows us down and invites us into a sphere of meditation
on sacrifice, kindness and redemption. Its a good place to be, especially
at Christmas time.
- Tim Smith, Baltimore Sun: Joseph Rescigno ... brought a good deal
of intensity, as well as poetry, to the score.
- Franco Borrelli, Oggi: Joseph Rescigno, che, per la sua «Carmen»,
ha voluto invece una veste che più tradizionale e vicinissima allo
spirito di Bizet è davvero difficile a trovarsi. Un capolavoro davvero
vivo, da gustarsi tutto, dall umorismo iniziale fino alla conclusione
da tipica tragedia greca.
- Gary Lemco, Audiophile: Prior to these collaborations I had not known
the art of conductor Rescigno, but he gets some heady response from the Montreal
players in the big opening tutti to the D Minor Concerto, and in the clarion
exuberance of the D Minor Scherzo in the B-flat Concerto.
- Arthur Kaptainis, Montreal Gazette: The Berlin Philharmonic under
Claudio Abbado, in Maurizio Pollinis DG account ... of No. 2, furnishes
a more throbbingly romantic cello soloist in the Andante. Of course, the fact
that Montreals No. 2 orchestra can withstand such comparisons at all
constitutes a recommendation.
- Claude Gingras, La Presse (Montreal): La violoniste sinquiétait
lautre jour: elle ne connaissait pas Joseph Rescigno, qui allait remplacer
Dutoit auprès delle pour ce premier «Mozart Plus»
de lété. Hier soir, son sourire en direction de linconnu
était fort éloquent. La violoniste peut en effet remercier le
ciel de lui avoir envoyé Joseph Rescigno, qui la suivie à
la fraction de seconde dans ses moindres rubatos.
- Arthur Kaptainis, Montreal Gazette: Rescigno chose not only the right
score but the right approach. With a combination of fresh tempos and firm
sonority, the conductor projected the essence of this music
had clearly been taken to get the details right. The flowing violin lines
of the Adagioso apt to sound redundant in unsure handswere animated
by subtle dynamic shifts. The great rhythmic energy of the Scherzo did not
blind the players to Bruckners distinctive use of wind and string sonorities.
- Claude Gingras, La Presse (Montreal): On roule ensuite le piano
mais cest M. Rescigno qui sy asseoit. Heureuse idée que
celle dexpliquer la construction du Concerto de Corigliano e den
faire entendre les thèmes. Le chef de lOM révèle
ici une parfaite connaissance de la partition, un réel talent de pianiste,
car loeuvre est très difficile, et une étonnante aisance
à sexprimer en français. Cet homme ne finira jamais de
Río de Sangre
- operaonline.us: Maestro Rescigno draws from the Milwaukee Symphony
Orchestra and the many talented singers in this ensemble a sense of fatality
and urgency that infuses Mr. Davis dark score with enough passion to
hold ones attention and make it an opera with a solid chance of drawing
and satisfying an audience.
- Gregory Berg, Opera News: The Milwaukee Symphony Orchestra and Florentine
chorus achieved gratifying triumphs
Conductor Joseph Rescigno presided
- John von Rhein, Chicago Tribune: Rescigno drew committed playing
from the orchestra, full-throated singing from the chorus and show-stopping
salsa licks from the onstage merengue band.
- Lawrence A. Johnson, The Classical Review: The companys longtime
principal conductor Joseph Rescigno drew outstanding playing from the Milwaukee
Symphony Orchestra throughout the nearly-three-hour score.
- John Schneider, expressmilwaukee.com: The singers and the Milwaukee
Symphony Orchestra led by Joseph Rescigno revealed the integrity and sweep
of the music.
(review of the recording): ... this strikes me as a thoroughly committed
performance from everyone. Chorus and orchestra are extremely vivid, and with
his background in Verdi and Puccini territory, Joseph Rescigno ... responds
well to this lyrical, volatile score.
La Fille du régiment
- Peter G. Davis, New York Magazine: Joseph Rescignos alert conducting
puts every scene into truly musical focus.
- Robert Kimball, New York Post: Conductor Joseph Rescigno made an estimable company debut in the pit.
- Joseph McLellan, The Washington Post: Joseph Rescigno conducts the fine little orchestra stylishly and generates a great, thumping, chauvinistic sound when the music becomes militaryas it often does.
- Barbara Zuck, The Columbus Dispatch: Conductor Joseph Rescigno, always
professional and always able to get the best from the Columbus Symphony Orchestra,
conducted from the stage to the pit, thus giving the performance an especially
cogent sense of ensemble.
- Peter G. Davis, New York Magazine: Conductor Joseph Rescigno gives
them every accommodation, and the production trips lightly from dancing overture
to happy finale.
- William Barnewitz, Dial Urban Milwaukee: Joseph Rescigno conducted the whole affair with his usual skill.
- Richard Nilsen, Arizona Republic: Finally, it is all brought together
by the orchestra under conductor Joseph Rescigno, who is an old pro and knows
how to keep a theatrical production moving along.
- Cathalena E. Burch, The Arizona Daily Star: The orchestra, under
the direction of guest conductor Joseph Rescigno, was superb.
- Maria Nockin, Music & Vision:
the performance was a musical
gem played at the brisk or romantic tempi that the score called for.
Lucia di Lammermoor
- Robert Markow, Opera News: Joseph Rescigno drew eloquent phrasing and clear textures from the Montreal Symphony while maintaining momentum through careful pacing and judicious tempos. The sextet was the highlight, distinguished for balance of ensemble and clarity of projecion.
- John von Rhein, Chicago Tribune: His reading swept away the
soggy rhythms and blurred textures that often obscure Donizettis intentions.
The pulse was steady and propulsive, yet Rescigno molded the bel canto lines
appreciatively and proved a reliable ally of the singers. Lets have
- Robert C. Marsh, Chicago Sun-Times: Joseph Rescigno
Lyric orchestra playing with all the energy and drive the music requires and
gave his singers strong melodic phrases to support their voices.
- Ioesco.com: Ma il clou di questa piccola stagione operistica del
Montefeltro è la Lucia di Lammermoor diretta dal grande concertatore
Il direttore Rescigno ha saputo creare i climax intensamente
emozionali di questopera romantica, gestendo in modo magistrale i cantanti
e lOrchestra Città di Ravenna che ha dato una brillante prova
delle sue qualità.
- Arthur Kaptainis, Montreal Gazette:
particularly in the first
movement where Rescigno summoned real lyrical sweep from the violins while
maintaining a bracing Allegro tempo.
Dynamic values and tempo changes
all justly reflected the architecture of the music.
- Richard Turp, Montreal Gazette: A gleaming first Allegro con spirito
in which the woodwinds were particularly fine, was complemented by a glowing
Adagio. The dense richness of the strings carried over into the Allegretto
graziozo which is, in effect, a dance-like scherzo. Echoes of Brahmss
Hungarian dances not only haunt this movement but also the concluding Allegro
non troppo. Here a series of variations gave the movement a rhapsodic character
and brought the evenings eclectic program to an electric conclusion.
Symphony #9 (From the New World)
- Claude Gingras, La Presse (Montreal): Une égale réussite
suivait lentreacte. Le Dvořák reçut en effet une
lecture non seulement précise mais habitée, dune émotion
qui renouvelait notre écoute de cette partition extrêmement familière.
Faisant toutes les reprises, Rescigno souligne les harmonies wagnériennes
des cordes et bois réunis et bien de détails comme les trémolos
des violoncelles. Une grande paix remplit son mouvement (très beau
solo de cor-anglais) et les dernières mesures de loeuvre ont
une extraordinaire force dramatique.
- John Koopman, Opera: ... the power-packed music-making of Joseph Rescigno and the Milwaukee Symphony, their clarity, precision and sense of balance (both sonic and dramatic) ever present.
Roméo et Juliette
- Hugh F. Phillips, Opera Canada: In the Portland Opera production of Gounod’s Roméo et Juliette, conductor Joseph Rescigno lead [sic] an orchestra that sounded transformed.
Mathis der Maler Symphony
- Ilse Zadrozny, Montreal Gazette: Congratulations to Rescigno and
his orchestra. They gave this difficult symphony a first-class performance
on the instrumental as well as on the emotional level.
Hansel und Gretel
- Arthur Kaptainis, Montreal Gazette: Joseph Rescigno conducted the
Orchestre Métropolitain through a sonically rich and rhythmically spirited
performance of this remarkable Wagnerian score.
- Claude Gingras, La Presse (Montreal): ...ce plaisir [à faire
de la musique], justement, est toujours évident à lorchestre,
animé par cet authentique musicien qest Joseph Rescigno
Die erste Walpurgisnacht
- Louis Nicholas, The Nashville Tennessean: Joseph Rescigno was the able orchestra director who held all elements of the performance together notably well.
- Tom Sutcliffe, The Guardian: Joseph Rescigno conducted with a sympathy
that helped to make the western orchestral instruments seem an extension of
the [three on-stage] Japanese musicians, rather than leaving the Japanese
music as merely exotic.
- Bernard Holland, The New York Times: Joseph Rescigno’s conducting made his musicians and singers cohere admirably.
- Howard Blumenfeld, Los Angeles Times: Joseph Rescigno conducted compellingly.
Die Entführung aus dem Serail
- Robert Markow, Opera News: Joseph Rescigno wove together the musical parts into a tightly knit ensemble that radiated stylistic grace and elegance.
- John Koopman, Opera: Joseph Rescigno drew excellent ensemble and
stylish playing from the orchestra.
- Mark Thomas Ketterson, Opera News: The maestro rendered this scores
tricky juxtaposition of light and shade with his customary aplomb, drawing
lovely texture, from the Milwaukee Symphony.
- Tom Strini, Milwaukee Journal Sentinel: Conductor Joseph Rescigno’s well-chosen tempos and sympathetic playing by the Milwaukee Symphony gave the singers a solid platform.
Le nozze di Figaro
- Tim Smith, Baltimore Sun: Joseph Rescigno, balanced momentum with
graceful contour. [...] the score was allowed to breathe, yet never felt draggy.
- Joseph McClellan, Washington Post: This production, eloquently conducted
by Joseph Rescigno ... had in abundance the two virtues most suited to the
Barns environment: intimacy and clarity.
- Nancy Raabe, Milwaukee Sentinel: But more important was the theatrical acumen displayed by the cast, the array of fine voices that dominated the stage and the impeccable musicianship that emanated from both podium and orchestra pit.
Symphony #36 (Linz)
- François Tousignant, Le Devoir (Montreal): Rescigno y arrive
assez bien; on le remarque surtout attaché à doser les plans
sonores, à éclaircir les échanges entre les instruments
et à tenter de faire chanter ses musiciens.
Orff & Leoncavallo
Carmina Burana & I Pagliacci
- Derek M. Mills, Opera News: As the evening developed, however, it
became clear that this approach was a strategy that allowed Rescigno to unite
both works and to build the entire evening toward a compelling, almost bacchanalian
- Colleen Johnston, Kitchener-Waterloo Record: Rescigno comes from
a long line of accomplished musicians. He takes this pedigree seriously, and
as he spoke about his reasons for choosing to conduct Ontario-born, Montreal
composer André Prévosts 1970 Evanescence, he was convincing,
earnest and moving. As the Kitchener-Waterloo Symphony performed this serially
written, chilling iceberg work, the groans of a glacier shifting reminded
Rescigno and the audience of the recent passing of Prévost. Prévost
was a friend and colleague of conductor Rescigno, and the respect shared by
these friends was evident in this performance.
- Elaine Schmidt, The Milwaukee Journal Sentinel: ...the opera was accompanied with sensitivity and drama by conductor Joseph Rescigno and members of the Milwaukee Symphony Orchestra.
- The Orange Transcript: Special credit must be given to maestro Joseph Rescigno. It was this man’s baton and leading of the extremely efficient and knowledgeable musicians that made the evening the joy that it was.
- Christian Dalzon, ConcertoNet.com: Seasoned conductor Joseph Rescigno
offers a quite respectable, beautifully paced performance. He is sensitive
but not self-indulgent, powerfully dramatic but not vulgar. Climaxes are presented
with precise dynamics, and the surprisingly few fortissimos of the orchestral
score have a cracking impact. Kudos to Arizona Opera Orchestra who responds
with dedication and intensity...
- Matthew Erikson, Fort Worth Star-Telegram: I reached for the handkerchief
several times mostly in the bittersweet second act. Credit the Fort
Worth Symphony Orchestra, led by conductor Joseph Rescigno, which gave a richly
atmospheric and shaped reading of Puccinis emotive score. ... There
were no dead spots in Rescignos brisk conducting, and in such moments
as the Humming Chorus and Act IIIs opening interlude, the players
proved what a marvel Puccinis music is.
- Scott Cantrell, The Dallas Morning News: The real stars of the show
were conductor Joseph Rescigno (nephew of Dallas Opera co-founder Nicola Rescigno)
and the Fort Worth Symphony Orchestra. ... This was authoritative, expressive
conducting, and the playing was superb.
- Leslie Valdes, Philadelphia Inquirer: When Joseph Rescigno launched
into Puccinis burbling, arresting harmonies, the guest maestro revealed
an opera orchestra as fluid and subtle as the waves and mists. The music was
more agile even than the swift, hooded props crew who slid the gleaming wood-and-screened
home of the main characters on and off stage.
- David Gordon Duke, The Vancouver Sun: Joseph Rescigno ... gets a
broad, sumptuous sound from the orchestra, an approach that brings out the
works verismo lineage more than its pastel japanoiserie.
- Edward Reichel, Deseret Morning News: Conductor Joseph Rescigno,
directing members of the Utah Symphony, showed his fine sense of balance and
pacing. His tempos were well chosen, giving the singers the freedom they needed
to project and allowing them to sing naturally and fluidly.
- John Charles, Opera Canada: Joseph Rescigno conducted with Italianate
- Andrew Adler, The Courier-Journal: Conductor Joseph Rescigno presided over the entire performance as a masterly Puccinian, never rushing, always supporting his singers. ...the stringswhere ‘Butterfly’ fundamentally lives and breatheshad an idiomatic lushness that carried through the evening.
- Shirley Fleming, New York Post: The orchestra sounded fresh, trim and well balanced under Joseph Rescigno’s direction.
- John Koopman, Opera: Manon Lescaut was brimming with musical excitement and vitality under the invigorating command of Joseph Rescigno. The Milwaukee Symphony enriched the voluptuous phrasing, fine tone and keen dramatic sense...
- Martin Mayer, Opera: Fortunately, Baltimore had the admirable Joseph Rescigno of Milwaukee’s Florentine Opera to do the balancing and propel the piece through its less interesting moments.
- Mairi MacLean, The Edmonton Journal: ...the music, with the ESO under conductor Joseph Rescigno, dripped with lyricism.
- John Charles, The Edmonton Sun: The Act III intermezzo was especially eloquent, and throughout Rescigno knew just when to rein-in the ESO for dramatic intensity, and when to expand the lyricism to a pastel glow.
- Catherine Reese Newton, Salt Lake Tribune: The Utah Symphony, under
conductor Joseph Rescigno, played with vivid color and emotion.
- Ilse Zadrozny, The Gazette, Montreal: The success of this production owes much to conductor Joseph Rescigno and the Montreal Symphony. It was evident that Rescigno has the full measure of this music, so that any fault-finding would be cavilling. The members of the MSO gave a first-class performance. Their playing was warm and sensitive, and especially fine in the extended orchestral episodees of Act 3.
- John Koopman, Opera: Joseph Rescigno generated constant excitement,
perfectly pacing the producers dramatic drive toward Sardous melodramatic
- Andrew Adler, The Courier-Journal: Returning to the Whitney pit after
leading Turandot three seasons ago, Joseph Rescigno conducted
the Louisville Orchestra with restraint and affection for Puccinis vocal
and instrumental shadings. There were moments when I wished hed ratcheted
up the tension level, but he appreciated that Tosca is not all
about explosive energyshocking, yes, yet crucially also seductive.
- Elaine Schmidt, Milwaukee Journal Sentinel: The production was accompanied
by members of the Milwaukee Symphony Orchestra, under the baton of Joseph
Rescigno, the Florentines principal conductor. Rescigno and the orchestra
found the considerable drama in Puccinis score.
- Robert Markow, Opera: Joseph Rescigno’s conducting elicited a disciplined yet intensely eloquent response from the Montreal Symphony, which followed his every cue to perfection, resulting in a rare degree of empathy between pit and stage.
- Myron Galloway, The Suburban: Under the baton of Joseph Rescigno the Montreal Symphony Orchestra gives a magnificent account of the score, at the very top of its form.
- Charles H. Parsons, Opera News: From the first crashing chords, Joseph
Rescigno stirred the Louisville Orchestra to extraordinary heights. Tonal
beauty was always present, even in the fierce, savage reading by Rescigno.
The chorus outdid itself.
- Andrew Adler, The Courier-Journal: Joseph Rescigno led the Louisville
Orchestra in a performance of admirable nuance. Kentucky Operas chorus,
given its severest test in many a season, responded with exceptional poise
- Barbara Zuck, The Columbus Dispatch: Conductor Joseph Rescigno, conducting
the Columbus Symphony Orchestra, delivers a fast-paced, taut Turandot.
Le tombeau de Couperin
- Colleen Johnston, Kitchener-Waterloo Record: Fresh, appropriately breezy and pastel-coloured section work lifted Ravel’s mercurial suite Le tombeau de Couperin to where it shone.
Il barbiere di Siviglia
- Will Crutchfield, New York Times: The rethinking came mostly in
questions of tempo: The stretta of the first act finale, for instance, was
taken so slowly that the vocal triplets could actually be attempted (this
listener, in dozens of Barbers, had never heard them before).
And lo and behold, it proved to be a far more effective tempo for the shape
of the piece. At the usual pace it can seem a little frantic; one wants it
over with, and most productions make cuts to shorten it. Here, it was note-complete
and purely delightful.
- Allan Kozinn, New York Times: Joseph Rescigno drew an appropriately
trim, shapely sound from the orchestra.
- Fred Kirshnit, New York Sun: Joseph Rescigno ... led a taut and measured
performance. ... The realization was dynamic and subtly fluid, the underlying
tension brought to almost aching fruition. This music may have been written
in an age of restoration, but it sounded arrestingly sinister and febrile
in the right hands.
- Edwin Safford, The Providence Journal: Since Joseph Rescigno was on the podium, you could depend upon smooth going from the orchestra. The conductor led Rossini’s score for its breadth and lyricism as well as its witty attacks, getting most praiseworthy results from the winds and brass. If the strings took second place in this judgment, it was a matter of degree, and Rescigno’s subtle grading of the composer’s famed crescendos even had them up to snuff.
- Michael Kimmelman, The New York Times: Joseph Rescigno conducted with grace and a propulsive, incisive sense of rhythm.
- Andrew Porter, The New Yorker and Financial Times: Joseph Rescigno was a polished, merry conductor.
- James Wierzbicki, St. Louis Post-Dispatch ... under the baton of Joseph Rescigno, a young conductor who these days seems especially attuned not only to the obvious rhythmic needs of Rossini’s music but also to its more subtle demands in the areas of balance and sonic coloration.
- Georges Farret, Opera International (Paris): Un direction souple,
précise dans les ensembles, cohérent et communicative.
- Alex Mattalia, Le Méridional (Marseille): Joseph Rescigno,
venu de Dallas et Chicago, a assuré une conduite vive, soutenue, nuancée
dans un excellent tempo. Il a communiqué aux interprètes du
plateau, comme au choeur très cohérent, la légèreté,
la spontanéité, dexpression, la fraîcheur, lallegria.
- Simone Serret, La Marseillaise (Marseille): Lorchestre
se faisant remarquer plutôt ice par sa poésie et son raffinement,
sous la baguette du chef Joseph Rescigno qui a fait merveille en particulier
pour mettre en valeur les grands ensembles, et les finales.
- Edmée Santy, Le Provençal (Marseille): Enfin celui
par qui lhomogénéité, le point dorgue ont
pu être obtenus: le chef, Joseph Rescigno. Cet Américain a tout
pour sécrier: Le lyrique en Europe, à nous deux!
and, writing separately,
Et je serais fort etonnée que notre directeur artistique nait
pas également arrêté les dates du calendrier du chef Joseph
Litaliana in Algeri
- Paul Kosidowski, Inside Milwaukee: Joseph Rescigno and the Milwaukee
Symphony were pitch perfect cadence after cadence after cadence.
- Octavio Roca, Washington Times: Joseph Rescigno is a conductor to
treasure. He has Rossini in his blood and technique at his fingertips. His
conducting was expansive and very considerate of his singers yet never letting
things bog down. One came away with a good sense of the nobility of this music
as well as its humor.
- Joseph McLellan, Washington Post: Conductor Joseph Rescigno matched
the shows visual impact with properly crisp and excellently balanced
- Tom Strini, Third Coast Digest: Conductor Joseph Rescigno and the
Milwaukee Symphony Orchestra heard and delivered the pratfalls in the Overture,
which was a good sign.
- Jeffrey C. Smith, Opera Canada: Joseph Rescignos conducting
had just the right touch.
- Opera Monthly: Joseph Rescigno conducted with finesse, breezy style,
and consideration for the singers.
- Elaine Schmidt, Milwaukee Journal Sentinel: MSO members, under conductor
Joseph Rescigno, played with finesse and style.
Schubert & Schumann
Symphony #8 (The Unfinished) & Symphony #2
- Richard Turp, Montreal Gazette: Last nights Orchestre Métropolitain
concert of Schubert and Schumann at the Théâtre Maisonneuve confirmed
the evolution of the orchestra under Joseph Rescignos leadership. The
Orchestre Métropolitain has acquired firmness of purpose and direction
but also a fluidity of approach and added lyricism. [Schubert]... poised and
hushed ... venture to the extremes of both dynamic range and nuance ... [Schumann]
Allegros musical narrative was cogent and coherent while the scherzo
was notable for the depth and definition of orchestral tuttis and breathtaking
resolution ... lyrical sweep in the Adagio had both a noble grandeur and moving
simplicity while the final Allegro demonstrated his ability to differentiate
and compose with the orchestral timbres.
- Arthur Kaptainis, Montreal Gazette: Few lists of likely interpreters
of Shostakovichs burly Fifth Symphony would include the classically
scaled Orchestre Métropolitain under opera-minded Joseph Rescigno.
Last night, Montreals other orchestra and its music director showed
a remarkable aptitude for thinking big and speaking Russian in Théâtre
Maisonneuve. ... Rescigno, for his part, challenged them by choosing a tempo
at the slow end of moderato, the better to bring out the anguish of the music.
Tension built steadily through the development. Climaxes were rugged and exciting.
Also credit Rescigno for finding a rollicking pulse for the Allegretto without
sacrificing its menacing subtext. ... There was plenty of gusto in the finale.
Ariadne auf Naxos
- Barbara Zuck, The Columbus Dispatch: Joseph Rescigno returns to the
Palace pit and conducts with adept skill and passion.
- John Koopman, Opera News: Joseph Rescigno led the excellent Milwaukee
Symphony in a surging, incandescent reading that achieved fine balance between
stage and pit.
- Ursula Weiss, Opera Canada: The Florentine Opera production of Elektra
was remarkable in its quality and stunning in its intensity. A cast of veteran
singers supported by the incandescent orchestral playing of the Milwaukee
Symphony, under the direction of maestro Joseph Rescigno, unleashed the full
impact of Strausss score on a rapt audience.
- Jay Joslyn, Milwaukee Sentinel: Conductor Joseph Rescigno drew from the full complement of the Milwaukee Symphony Orchestra the particular sound mosaic with which Strauss is identified. He drove the emotional pace of the piece while serving the singers with consideration.
- Tom Strini, Milwaukee Journal Sentinel: Conductor Joseph Rescigno
paced and balanced sensitively and maintained transparency in the dense orchestration.
That last point is crucial, as waltzes lurk deep in the mix, as if heard through
the open windows of a ballroom down the block. Rescigno and Strauss never
let you forget: This is Vienna.
- John Koopman, Opera News: Suicidal as this sounds, it all turned
out well, and the company actually played to its great strength: the excellent
Milwaukee Symphony, which serves as the Florentine orchestra, lent a solid
underpinning to the entire project and contributed mightily to its success.
… Conductor Joseph Rescigno held it all together with precise cues,
artfully balancing stage and pit and shaping the score.
- Lawrence B. Johnson, Milwaukee Sentinel: Just about everything worked here, as conductor Joseph Rescigno wove Strauss’ knotty threads into whole cloth with a superbly balanced cast and a well-prepared Milwaukee Symphony Orchestra.
- Tom Strini, Milwaukee Journal Sentinel: Conductor Joseph Rescigno
comforted and urged on the singers with tempos and orchestral dynamics so
right that you thought not of them, but only of the gripping, sweeping drama.
The Milwaukee Symphony played with a glorious combination of precision and
- Mark Thomas Ketterson, Opera News: Joseph Rescigno fielded some of
his best work yet with his exemplary handling of Strausss reduced orchestration
for eighty-two (as opposed to the original scoring for 110) instruments. The
Milwaukee Symphony played beautifully.
- Barbara Zuck, The Columbus Dispatch: Rescigno certainly did not forsake
the power in this score, but there was no harshness or ugliness, only authority.
Similarly, while every important musical motive and moment was cleanly differentiated
in this always-moving score, the pace never faltered. Nor was there even the
slightest coordination problem between the singers and the orchestra.
- François Tousignant, Le Devoir (Montreal): Hier soir, à
la basilique Notre-Dame, Joseph Rescigno et lOSM ne nous ont pas laissé
sur notre faim! La vision de Rescigno est claire: chassez la mièvrerie
au galop et la musique arrivera aussitôt. Les quatre mouvements senchaînent,
dans des tempos alertes qui «pompent» les vents de lOSM.
En plus, le chef invité sait se servir des cuivres. Quel volume!, mais
jamais tonitruant. Au contraire, les trompettes apportent la lumière
dans les fanfares, les cors bouchés modifient curieusement léclairage
quand on les entend aussi nettement, sans crainte de les faire sonner trop
fort. Car Rescigno arrive à tirer tout le volume nécessaire
des cordes (dans la nef, il faut le faire) et fait se lancer comme des bulles
de champagne tous les traits des vents qui, ainsi mis en relief, relèvent
de la plus maîtrisée virtuosité.
son banal héritage et de son carcan romantiqe, le fatum qui sert de
motif conducteur à loeuvre gagne une intensité dramatique
remarquable, ainsi quune efficacité doù la vulgarité
est complètement absente, comme la facilité. La battue détaillée
du chef permet lémergence et la présence sentie de plein
de petits contrepoints, de courts motifs daccompagnement qui généralement
se noient dans la pâte. On fait plus que sintéresser: on
se passionne pour ces musiciens qui font ainsi de la musique. Tchaïkovski
comme antidote de Rachmaninov, qui leût cru?
- Edward Reichel, Deseret Morning News: Conductor Joseph Rescigno,
directing members of the Utah Symphony, showed his fine sense of balance and
pacing. His tempos were well chosen, giving the singers the freedom they needed
to project and allowing them to sing naturally and fluidly.
- Floyd St. Clair, Opera Canada: Joseph Rescigno led a supportive orchestra with vigor and some deft pointing up of niceties in the scoring.
- Ursula Weiss, Opera Canada: Maestro Joseph Rescigno brought his usual
bright, urgent tempi to the work, but had the wisdom to restrain himself for
several of the notoriously complex ensembles.
- Tom Strini, Milwaukee Journal Sentinel: The singers bobbed along
on Joseph Rescignos well-chosen tempos. They had a good time, and their sense of pleasure in their work was part of the appeal.
- Rita Celli, La Voce di Romagna: Pieno successo per il Falstaff diretto
da Joseph Rescigno, ieri sera presso il Tetaro Sociale di Novafeltria. Merito
in primo luogo del direttore Rescigno che ha saputo condurre magistralmente
lOrchestra Sinfonica di Pesaro e tutta la compagine vocale con tempi,
caratteri e equilibrio sonoro che hanno permesso al pubblico assistere a questopera
magistrale e divertirsi.
- Joan Reinthaler, The Washington Post: ...conductor Joseph Rescigno,
who managed to juggle sympathetic attention to Verdian vocal lines with the
hurly-burly of Verdian slapstick...
- Terry Ponick, The Washington Times: Under Maestro Rescigno’s baton,
the full, Romantic sound of the orchestra, which consists of members of the
Virginia Symphony, couldn’t have been better.
- Lee Teply, The Virginian-Pilot: Conductor Joseph Rescigno returned
to the pit, moving the music forward with a natural pacing. The orchestra
of Virginia Symphony musicians played superbly, following his every nuance
and maintaining balance with the singers.
- Metropolitan Arts Reviews: ... Joseph Rescigno, made sure that the
music was as beautiful as the slap stick was hilarious. The timing of the
music and the action was perfect.
- Robert Coleman, Opera News: Rescigno ... masterfully balanced singers
and instrumentalists without sacrificing Verdis muscular sound.
- Catherine Reese Newton, The Salt Lake Tribune: Joseph Rescigno conducts
the Utah Symphony in Verdis rich and fascinating score. Woodwind playing
in Lady Macbeths sleepwalking scene is particularly picturesque.
- Edward Reichel, Deseret News: Pacing was taut, and the members of
the Utah Symphony playing in the pit for this production gave a solid and
finely crafted performance.
- Barbara Zuck, The Columbus Dispatch: Music Director Joseph Rescigno,
who is becoming an old friend to Opera/Columbus regulars, brings clarity,
balance and intelligent pacing to the production. He leads the Columbus Symphony
Orchestra in a satisfying and neatly executed rendition of the overture and
thereafter keeps the action moving forward at appropriate tempos... In an
opera with such a prepondereance of writing for brass and chorus, the principals
could easily be overpowered. Not in this reading. Rescigno never lets the
brass play or the chorus sing to the detriment of the stars.
- Stephen Wigler, The Sun (Baltimore, MD): The orchestra played convincingly under the idiomatic leadership of Joseph Rescigno.
- Ellen Finkelstein, Baltimore Business Journal: By far, the most surprising delight of this production is the orchestra. Not since the Baltimore Symphony Orchestra days of opera residence have I heard such precision and sensitivity. Bravo to conductor Joseph Rescigno.
- Tom Strini, The Milwaukee Journal: Conductor Joseph Rescigno at the
helm of an exceptionally responsive and expressive Milwaukee Symphony, understood
both the big arcs and the details of expression that give them shape and impetus.
- John Koopman, Opera News: Conductor Joseph Rescigno applied abundant
vigor and passion to the score, and when the curtain opened on Verdis
storm, the chorus seemed buffeted by the burst of music and conductorial intensity.
- Lee Zacheis, The Cedar Rapids Gazette: Rescigno is a conductor thoroughly at home with Verdi and it was gratifying to observe him drawing the somber tones and shadings from both orchestra and chorus, so important to this work.
- Andrew Alexander, The Atlanta Journal-Constitution: Conductor Joseph Rescigno makes the orchestra sound especially fine in passages of quiet intensity, when Verdi utilizes one or two sections or smaller arrangements of instruments to elicit spooky and suspenseful dramatic textures.
- Paul Kosidowski, Milwaukee Magazine: Joseph Rescigno and the Milwaukee
Symphony Orchestra found the dramatic power in Verdis score, and Rescigno
was a particularly sensitive accompanist for the soloists.
- Tom Strini, ThirdCoast Digest: Joseph Rescigno, conducting the singers
and the Milwaukee Symphony Orchestra, framed the singing of Jarman and all
the cast most sympathetically. Rescigno enforced apt tempos every beat of
the way, excellent balance within the orchestra and between the orchestra
and the singers, and maintained a powerful, overarching momentum. This Rigoletto
is one of Rescignos very best efforts in his long Florentine tenure.
- Elaine Schmidt, Milwaukee Journal-Sentinel: Conductor Joseph Rescigno
and members of the Milwaukee Symphony Orchestra supported the opera from the
pit. Rescigno was sensitive to the singers needs, giving them the musical
and dramatic freedom they needed.
- Peter Jacobi, blogs.music.indiana.edu: Verdi has been done proud. The reason begins with music director Joseph Rescigno, who obviously loves the opera and has expressed that love in sensitive preparation of the Concert Orchestra and all those singing on stage; the orchestra sounded velvety and voluptuous.
- Elaine Strauss, U.S. 1 (New Jersey): The orchestra, directed by Joseph Rescigno, furnished transparent instrumental support from the moment it played the first icy chords of the overture. Its well-placed silences contributed to dramatic effectiveness at critical points in the work.
- Tom Strini, Milwaukee Journal Sentinel: Conductor Joseph Rescigno, in the pit with the Milwaukee Symphony, surely helped the singers arrive at their smart, sensitive and telling readings of this music. Beyond that, he wove the parts into a well-paced, satisfying whole.
- Joseph Orchard, Classical New Jersey Society Journal: The musical direction of this production was forged by conductor Joseph Rescigno. Under his guidance, the ensembles—from duets to choruses—were full of musical poignancy. The strong, dry sound emanating from the orchestra both supported and ignited the dramatic action unfolding on the stage.
- Albert H. Cohen, Home News Tribune (New Jersey): Conductor Joseph Rescigno was superb. His tempos were brisk to keep the action moving, languid to pull the beauty from the great arias. His orchestra was both responsive and under control.
- Nancy Plum, Town Topics (New Jersey): Conductor Joseph Rescigno conducted the singers, accompanied by the Chamber Orchestra of Philadelphia with the clear musical intent of a classical approach to the phrasing. The orchestral sound was clean and rich, the brass was precise, phrase endings were tapered, and many dynamic echoes were heard within the lines of both singers and instrumentalists. Mr. Rescigno had a solid command of the score, which enabled the musical production to flow smoothly.
- Maria Nockin, Opera japonica: Conductor, Joseph Rescignos vast
knowledge of Verdi style was evident as he wove the many parts of this opera
into a fine performance.
- Rita Celli, La Voce di Romagna: Protagonista principale della serata
il direttore Rescigno, una garanzia per la tenuta dellopera che con
simbiosi ha unito orchestra e palcoscenico.
Un ballo in maschera
- Barbara Zuck, The Columbus Dispatch: The Opera/Columbus production
is able to make the most of these opportunities because of the fine principal
singers and the skilled, confident conducting of Joseph Rescigno. Rescigno,
who guest conducted the Columbus Symphony Orchestra, saves the audience from
a sluggish evening ... by propoelling the action on with eager tempos, but
preserves the musicality by his sensitivity both to the score and to the cast.
Nancy Gilson, Columbus Citizen-Journal: Conductor Joseph Rescigno encouraged
a bold, big performance from the Columbus Symphony...
Der fliegende Holländer
- Christine Granster, Opera: Maestro Joseph Rescigno began Wagners
vigorous overture with his usual energetic approach and kept the excitement
flowing on throughout the evening.
- Christian Dalzon, ConcertoNet.com: The Flying Dutchman has
always been a conductors opera. With Joseph Rescigno at the helm of
Arizona Opera Orchestra, we are treated with intense and assured conducting.
From the very first bars of the overture, he imposes a lightning tension and
never releases his grip. The pace and drive are everything they should be,
and so is the balance between German heaviness and Romanticism. The reading
of the score is spacious in its tempos, never bombastic, but delicately subtle
and stormy when needed. The musicians response? Passionate and cohesive,
with shimmering strings and riotous brass. Likewise, the strong vocal cast
assembled by Arizona Opera makes for a commendable performance.
- Claude Gingras, La Presse (Montreal):Joseph Rescigno, maître
doeuvre de cette grandiose réalisation, a non seulement confirmé
là une fois de plus ses grandes qualités de chef et dinterprète
mais a étonné par la dimension de sa vision. Sa direction avait
de lunité, elle embrassait à la fois chanteurs et orchestre,
elle était sensible et efficace à chaque instant.
- François Tousignant, Le Devoir (Montreal): Il faut évidemment
reconnaître la très grande part de mérite qui revient
à Rescigno. ... Rescigno, renoue avec le «soleil latin»
que Wieland Wagner, petit-fils du compositeur et metteur en scène de
génie, admirait tant chez des chefs tels Karl Böhm et Pierre Boulez.
Le choix des tempos est juste; ils sont alertes et jamais la musique ne traîne
la patte. Contrairement à bien dautres chefs quon dit «wagnériens»,
il ne sécoute pas: il écoute la musique. Ainsi, il rend
sans problème ce quil y a de plus difficile dans cette écriture,
à savoir les transitions et les nombreuses fluctuations de la pulsation
à lintérieur dun même tempo. Le théâtre,
dont on aurait pu craindre labsence, est donc réellement présent
par cette mouvance si souple qui fait quon épouse tout naturellement
le déroulement de la partition et de lintrigue.
Tristan und Isolde
- Tom Strini, Milwaukee Journal Sentinel: Under Rescignos purposeful
and sensitive guidance, they always knew their place within Wagners
long, slow build-ups to climactic release.
- John Koopman, Opera News: This countrys Wagnerian center-of-gravity
shifted recently to Wisconsin, a temporary phenomenon caused by the substantive
performances of Tristan und Isolde by the Florentine Opera. ... Maestro
Joseph Rescigno clearly reveled in the orchestral sound at his command and,
relieved of balance concerns by the physical arrangement, shaped a grand,
sweeping reading of the score
- John Koopman, Opera News: Led by the energetic Joseph Rescigno, whose command of the score was total, the Milwaukee Symphony seemed ablaze with its own internal magic fire, and its supportive presence lent urgent vitality.
- Joe Banno, The Washington Post: ... a luminous, finely pointed, purposefully
- Terry Ponick, The Washington Times: The Virginia Symphony, which
accompanied the singers under the able baton of substitute conductor Joseph
Rescigno, performed admirably as they worked with unaccustomed material. In
Wagner, the symphonic quality of the orchestra is intentionally as important
as the singing. The orchestras playing was elegant and sensitive.
- M.D. Ridge, Artsong Update: Rescigno provided full punctuation of
Wotans dreadful curse. [A news item about opening night by John Campbell
is at the end of this
- Bruce Boucher, The Berkshire Review: Rescigno, who studied under
Erich Leinsdorf, has a strong affinity for the sound and architecture of Wagnerian
motifs and produced remarkably fine tones and ensemble playing from the Virginia
- Edgar Loessin, Loessin at Large, WHRO-FM: ... they are well
sung and most certainly masterfully supported by the 51 piece orchestra under
the baton of the commanding Joseph Rescigno.
- Tim Smith, Opera News:
the cast dove into the music with remarkable
freshness and commitment, while the orchestra (drawn from the Virginia Symphony)
played with considerably more cohesiveness and expressive depth than typical
in previous seasons. Rescigno
held things together and came through with
sufficient eloquence in the scores most radiant moments.
- Raymond Jones, Virginian-Pilot (Norfolk): Maestro Joseph Rescigno
... is a podium veteran who is the principal conductor of Milwaukees
Florentine Opera Company. He demonstrated complete command of the music and
drew some exemplary playing from the orchestra.
- David Nicholson, Daily Press (Newport News):
a sensuous reading
of the score by the orchestra conducted by guest conductor Joseph Rescigno.
Concert of Wagner excerpts
- Arthur Kaptainis, Montreal Gazette: ... despite distractions... That
this program nevertheless held interest as a kind of symphonic poem with voices
says something about how much the orchestra has progressed under Rescignos
- Robert Markow, Wagner Society of New York: Rescigno is a master at
observing details that make a score come to lifethe subito pianos, the
quick swellings and subsidings, the myriad nuances and rubatosand the
orchestra responded to his every wish, playing with a glow and richness of
sound seldom heard from the far better known Montreal Symphony.
- Arthur Kaptainis, Montreal Gazette: Rescigno successfully realized
the cinematic colour of the Walton, with all its brilliant sunshine and banners
flapping in the breeze. The OM is clearly a more confident reading orchestra
than it once was.
Barber, Fauré, Rimsky-Korsakov, Sibelius, Stravinsky, Tchaikovsky
- Arthur Kaptainis, Montreal Gazette: Joseph Rescigno24 hours
after leading the MSO [Montreal Symphony Orchestra] through an unrelated program
in Notre Dame Basilicaworked miracles with a pickup band.