Verdis Falstaff with the Virginia
DATES: September 27, 29, October 1 (Norfolk),
October 4, 6 (Richmond), &
October 11, 13 (Fairfax)
Wagners Der fliegende Hollander for the Arizona
DATES: November 15, 16, 17 (Phoenix),
November 23, 24 (Tucson)
Works for string orchestra, with Arco
Ensemble at Enlow
Recital Hall on the campus of Kean University, Hillside, NJ.
DATE: March 23
Verdis La traviata at the Jacobs
School of Music, Indiana University, Bloomington, IN.
DATES: April 11, 12, 18, 19
Puccinis La bohème for The
Florentine Opera, Milwaukee, WI.
DATES: May 9, 11
What others have said...
Concerto for Violin, Oboe, and Strings
- Richard Turp, Montreal Gazette: Even in the brisk final Allegro,
Rescigno, who played and directed from the harpsichord, offered a beautifully
- Claude Gingras, La Presse (Montreal): Et interprétation
[Ani Kavafian] tout à fait en accord, dun grand élan
lyrique, dun exceptionnel brio dans le Presto final en movement
perpétuel, et toujours dune parfaite justesse. Très
dificile aussi pour lorchestre, ce concerto, et à plus
forte raison pour un orchestre détudiants [McGill Symphony
Orchestra]. Rescigno y maintint un coordination rhythmique absolue.
- Bruce-Michael Gelbert, Opera Monthly: Joseph Rescigno presided
over the Saint Louis Symphony Orchestra members who play for the Opera
Theater. He deserves credit for realizing this unjustly neglected, rich
- James Wierzbicki, St. Louis Post-Dispatch: As saccharine and
effusive as the music of Barbers opera is, it contains more than
a few undeniably gorgeous passages; under the baton of conductor Joseph
Rescigno, the majority of them are splendidly realized.
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.