Reviews — Virginia Opera |
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"Virginia Opera's Intense 'Trovatore'"
The Washington Post, by Mark Estren
October 20, 2008
“Virginia Opera’s season-opening ‘Il Trovatore’ is a milestone: Artistic Director Peter Mark’s 100th production in 34 seasons. As Mark’s conducting propelled the music with feverish intensity Friday night, stage director Lillian Groag went all out to make Verdi’s over-the-top melodrama memorable at George Mason University’s Center for the Arts.”
Review: 'Rigoletto'
Letter V, by Clarke Bustard
October 25, 2010
“The Virginia Opera’s production of Verdi’s "Rigoletto," which concluded its run over the weekend proved to be one of its best in recent years in terms of vocal casting and orchestral performance.”
“Peter Mark conducted an orchestra drawn from Hampton Roads’ Virginia Symphony in accompaniment that was dramatically charged but never overtaxing to the voices; several of the orchestra’s soloists delivered memorably sensitive support.”
“Peter Mark conducted an orchestra drawn from Hampton Roads’ Virginia Symphony in accompaniment that was dramatically charged but never overtaxing to the voices; several of the orchestra’s soloists delivered memorably sensitive support.”
"Opera Season Opens Well with 'Rigoletto'"
The Virginian-Pilot, by Raymond Jones
October 4, 2010
“Quietly and efficiently working away in the pit was the real driving force of the opera, maestro Peter Mark. With hundreds of opera performances under his belt, his conducting was simple perfection, drawing wonderful sounds from the Virginia Symphony musicians.”
Review of 'Eugene Onegin'
Opera News, by Tim Smith
May 2008
“Conductor Peter Mark applied a strong momentum to the score without sacrificing lyrical reflection.”
"Lovely Lucia"
Port Folio Weekly, by B.J. Atkinson
April 8, 2008
“There was a powerful bond between pit and stage: The Richmond Symphony, under the baton of conductor Peter Mark, was in perfect sync with the principals. Not an errant note fell out of place.”
"Virginia Opera's 'Eugene Onegin', a very good production... "
OperaOnline.us, by Joseph Giannino
March 2, 2008
“Peter Mark, once again, led a spirited and tight reading of the score. Maestro Mark has yet to let me down (his Norma a few years back still stands out for its brilliance). Here, the music soared and there was no doubt that Mark, in complete control, was responsible for its delivery.”
"Virginia Opera Opens Season with 'Hoffman'"
Classical Voice of North Carolina, by William T. Walker
October 21, 2007
“Artistic Director Peter Mark led members of the Virginia Orchestra in a gorgeously phrased and played treatment of the score. His alert and flexible conducting kept tight coordination between the pit and the stage.”
"Virginia Opera's Devilishly Delicious 'Tales of Hoffman'"
The Washington Post, by Mark Estren
October 15, 2007
“Artistic Director Peter Mark conducted with great flair, keeping the music frenetic where appropriate but knowing just when to slow things down.”
"Peter Mark guides the orchestra with a keen sense of the highly theatrical qualities that define the music of these two works"
AllArtsReview4U Review of Cavalleria Rusticana / I Pagliacci, by Bob Anthony
April 2, 2007
“The Virginia Opera Company finished their season ablaze with drama and singing talent with their production of ‘Cavalleria Rusticana’ and ‘I Pagliacci.’”
“Of course, no one conducts opera as well as Peter Mark...it is a joy to watch his full body energy put into every operatic sequence.”
“Of course, no one conducts opera as well as Peter Mark...it is a joy to watch his full body energy put into every operatic sequence.”
"Virginia Opera: Verismo Double Bill of Cav and Pag Packs a Wallop"
Classical Voice of North Carolina, by William Thomas Walker
March 31, 2007
“After having been swept up by Virginia Opera’s double-bill of the verismo one act opera twins, Cavalleria Rusticanna and I Pagliacci, I can see why most opera houses traditionally have staged them together.”
“Peter Mark directed searing performances using members of the Richmond Symphony Orchestra. There was tight ensemble between the pit and the stage, and the strings, brass, and winds were kept neatly balanced. Mark brought out all the poetry in the famous interludes. Some of the detailed fast playing of the violins in the Mascagni reminded me of the quicksilver writing of Mendelssohn.”
“Peter Mark directed searing performances using members of the Richmond Symphony Orchestra. There was tight ensemble between the pit and the stage, and the strings, brass, and winds were kept neatly balanced. Mark brought out all the poetry in the famous interludes. Some of the detailed fast playing of the violins in the Mascagni reminded me of the quicksilver writing of Mendelssohn.”
"GO FOR BAROQUE: Virginia Opera’s Agrippina is that rare thing: hilarious beauty"
Port Folio Weekly. by M.D. Ridge
February 6, 2007
“Spectacular voice after spectacular voice blazed across the Harrison Opera House stage in Virginia Opera’s production of Handel’s Agrippina, brilliantly directed by Lillian Groag.”
“In Groag’s inventive hands, with a luminous cast and Peter Mark’s crisp conducting, Agrippina became a rare marriage of beauty and hilarity, of extraordinary singing and slapstick comedy, of breathtaking art and bedroom farce.”
“An ensemble cast of such quality is usually only found at grand galas…..”
“The lithe baroque orchestra played with simplicity and intensity, with Laura Friesen’s harpsichord brisk or plaintive as needed. The recorders brought superb musicianship to the period sound. Like the singers’ stylish ensemble work, the players heightened every affect under Mark’s intelligent baton.”
“In Groag’s inventive hands, with a luminous cast and Peter Mark’s crisp conducting, Agrippina became a rare marriage of beauty and hilarity, of extraordinary singing and slapstick comedy, of breathtaking art and bedroom farce.”
“An ensemble cast of such quality is usually only found at grand galas…..”
“The lithe baroque orchestra played with simplicity and intensity, with Laura Friesen’s harpsichord brisk or plaintive as needed. The recorders brought superb musicianship to the period sound. Like the singers’ stylish ensemble work, the players heightened every affect under Mark’s intelligent baton.”
"From the Virginia Opera, A Spellbinding ‘Carmen’"
Washington Post, by Mark J. Estren
October 16, 2006
“Just when you think there can’t possibly be anything new to see or hear in ‘Carmen,’ along comes Virginia Opera with a sparkling production that is equal parts glitter and nuance.”
“Artistic Director Peter Mark conducted with his usual sensitivity to pacing: very quick in fast passages, nicely stretched out in emotive ones.”
“Like Carmen’s sorcerous rose, Virginia Opera’s bewitching production was spellbinding.”
“Artistic Director Peter Mark conducted with his usual sensitivity to pacing: very quick in fast passages, nicely stretched out in emotive ones.”
“Like Carmen’s sorcerous rose, Virginia Opera’s bewitching production was spellbinding.”
"Virginia Opera’s ‘Romeo and Juliet’ to Die For"
The Washington Post
by Cecelia Porter
December 5, 2005
“Conductor and Artistic Director Peter Mark maintained uninterrupted momentum and excitement, winning instantaneous responses from singers, dancers and orchestra alike.”
"Soundings: Virginia Opera succeeds with ‘Tristan and Isolde’"
Virginia Gazette, by John Shulson
February 3, 2005
“The highest thrill point of “Tristan” came with the orchestra. Under Peter Mark’s baton, it performed brilliantly. The sounds were strong, lush, convincing, commanding, and overwhelmingly passionate. The musicians have never sounded as cohesive and as simpatico to the demands of the score as in this performance. Mark hit the mark totally in this most total and poetic-dramatic of renderings. It just couldn’t have been finer musically and helped make “Tristan” a success on anyone’s level.”
"Virginia’s Potent ‘Die Walkure’: Reaching for the Golden ‘Ring’"
The Washington Post, by Tim Page
October 10, 2002
“... what impressed me most about the performance I saw here Sunday afternoon was the compelling argument Virginia Opera made for Wagner as a master dramatist.”
“… Virginia Opera conductor and artistic director Peter Mark ... summoned ... glistening playing from the first-desk musicians, showed a remarkable command of the score’s architecture throughout the performance, and was rightly cheered to the rafters at the conclusion of the long afternoon.”
“… Virginia Opera conductor and artistic director Peter Mark ... summoned ... glistening playing from the first-desk musicians, showed a remarkable command of the score’s architecture throughout the performance, and was rightly cheered to the rafters at the conclusion of the long afternoon.”