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July 2012
ARTHUR FAGEN, MUSIC DIRECTOR OF THE ATLANTA OPERA, EARNED OUTSTANDING REVIEWS ON DON GIOVANNI
On May Mr. Fagen conducted Mozart's Don Giovanni, last production of the season of the Atlanta Opera. His conducting got high praise in one of the most prestigious opera magazines, Opera News:
...the most stellar aspect of the production was conductor Arthur Fagen's presence on the podium. The past six years have seen a string of guest conductors at the opera, some fantastic and others forgettable. But Atlanta Opera has at last committed to an internationally recognized music director who has the ability to bring out the best from the musicians in the pit. The AO orchestra played seamlessly and with momentum on this night.

Stephanie Adrian, Opera News, July 2012
April-May 2012
ARTHUR FAGEN CLOSES THE SEASON AT THE ATLANTA OPERA NEXT APRIL 28

Mr. Fagen conducts on April 28, May 1, 4 and 6, 2012, Mozart's Don Giovanni, the closing season of the Atlanta Opera. His second season as Music Director saw him conducting also Verdi's Lucia di Lammermoor and Mozart's Magic Flute, earning outstanding reviews. Soon after he will be conducting the Krakow Philharmonic Orchestra on May 11 and 12 with a program that includes works by Saint-Saëns and Mussorgsky's Pictures at an Exhibition.

More information at:
http://www.atlantaopera.org/
http://www.filharmonia.krakow.pl/



February 2012
IU Opera Theater’s returns to join conductor Arthur Fagen in a new production of Benjamin Britten’s third full opera, Albert Herring, one of his most admired works. Performances take place on February 9, 10, 11 and 12.
Mr. Fagen earned outstanding reviews on his conducting in Germany (Saarbrücken ) and Spain (Oviedo) :

Saarbrücken Staatstheater, New Year Concert, January 2012
Fulminantes Neujahrskonzert des Staatsorchesters

Der New Yorker Dirigent Arthur Fagen hat das Staatsorchester durch das Neujahrskonzert im Staatstheater geleitet. Am Ende eines fulminanten Abends applaudierten sich Dirigent, Orchester und Publikum gegenseitig.

Sektkorken knallten, das Staatstheater war ausverkauft, das Orchester gut gelaunt, und mit dem auf drei Kontinenten viel gefragten Dirigenten Arthur Fagen stand genau der richtige Mann am Pult. Ein Professor (an der Indiana University), der unprofessoral das Programm kommentierte, ein Chefdirigent (der Atlanta Opera), der dem Ensemble Witz und Eleganz entlockte, ein Musiker, der das übliche Neujahrsprogramm mit Bernstein und Copland bereicherte und oft Gehörtem neue Facetten abgewann. Prächtige Bläsersoli erhöhten den Genuss, und selbst bei den routiniertesten Musikern beobachtete man (melodien)seliges Lächeln.

Spätestens bei „Stars and Stripes“ als Zugabe kam man wieder zu sich, klatschte mit und belohnte den unverwüstlichen Radetzky-Marsch mit stürmischem Beifall. Am Ende applaudierte das Orchester dem Dirigenten, der Dirigent applaudierte dem Publikum fürs fein abgestufte Mitklatschen, und einen Augenblick lang mochte man glauben, nun könne das neue Jahr eigentlich nur gut werden.

Hans Bünte, SZ, January, 2012

Orquesta Oviedo Filarmonia, December 2011

En la función que nos ocupa, con una programación de gran calado romántico, la dirección efectiva y ordenada del director, pero contundente y de tempo vivo, en las obras sinfónicas, y la entrega de los miembros de la orquesta a la explotación extrema del sonido, además de escucharse, se veía. La colorista y descriptiva obertura sinfónica de Mendelssohn La Gruta de Fingal abrió una velada que se movió entre la agitación y el remanso. Arthur Fagen impuso, desde esta primera obra, un sonido amplio y abierto a la orquesta, que respondió muy bien, con acertado contraste entre las fuerzas del mar y sus remansos. La primera sinfonía de Brahms, que el titular ataca decidido y de memoria, fue un torbellino sonoro de principio a fin -siempre dentro de las posibilidades de la orquesta-. El señor Fagen opta por unos tiempos ágiles, como corresponde a contar con una agrupación no muy numerosa, donde no se pueden dilatar en exceso los ecos sonoros. Pero se impuso la claridad de las texturas orquestales, una sobria expresividad, a favor del brillo, y un carácter viril del tempo. Una interpretación incisiva, movida, vibrante. Persuasiva en todos sus movimientos, coherente y sin sobresaltos con el planteamiento inicial. …… ésta arrebató al público, por su carácter abierto y directo.

Diario de Noticias, February 15, 2012

La labor directorial fue impecable, sobresaliente también, en la realización de estas dos obras, preciso y muy claro en su gesto, condujo con éxito la interpretación de estas dos obras complejas en su realización.

Joaquin Valdeon, lne.es, Diario independiente de Asturias, December 17, 2011

Pero personalmente el protagonista fue el maestro Fagen, capaz de ensamblar un programa tan distinto y hacernos salir del auditorio con el ánimo en lo alto. ....el solista ... Fernando Arias resultó el perfecto virtuoso que dio todo en los dos movimientos de que consta la obra..... estuvo arropado por ( )  la orquesta que colaboraron enormemente al excelente resultado final, sin olvidarnos otra vez del gran Fagen, atento a cada detalle, matices increíbles, cambios de tiempo y compás endemoniados, así como colchones sonores y melodías complementarias en una formación donde el piano consiguió enriquecer la ya de por sí rica paleta tímbrica. La Sinfonía nº 8 en Sol M, Op. 88 de Dvorak ( ) supuso la auténtica puesta de largo de la formación ovetense. Desde el primer acorde del Allegro con brio presentí por el "tempo" inicial que iba a ser distinta, como así sucedió en todo el desarrollo, escuchando perfectamente todas las secciones, equilibrio de planos, matices que acallaron toses... El Adagio logró un empaste de auténtico terciopelo, madera de lujo (en especial flautas y clarinetes), metales brillantes pero nunca deslumbrantes sino refulgentes (tanto trompas como trompetas realmente en estado de gracia) y una cuerda poderosa a la vez que sutil, engrandeciéndose aún más en el vals del Allegretto grazioso - Molto vivace, siempre disciplinada a cada gesto desde el podio, "rubatos" en su sitio, conocedor del detalle aparentemente más nimio pero que consiguió enamorar nota a nota, fraseos claros y pulcros hasta alcanzar la plenitud de ese vivaz, cambiante y embriagador Allegro ma non troppo, auténtica guinda de pastel donde los cellos remataron la excelencia de una sinfonía redonda. En los diez años de vida de la orquesta creo que ha sido su mejor actuación, con uno de esos auténticos directores Maestro que optimizan el trabajo..... Personalmente una alegría corroborar que con buenos mimbres no puede salir un mal cesto, y además tomando forma.

Pablo Alvarez, www.classissima.com, December 17, 2011
December 2011
December is a very busy month for Arthur Fagen. After a successful opening opera season of the Atlanta Opera in the U.S. with Donizetti’s Lucia di Lammermoor, and having warm praise in the press for his conducting, this weekend Mr. Fagen conducts the Norddeutsche Philharmonie in Germany. The program features works by Weber, Brahms and Dvorak. The concerts are on Saturday 3, Sunday 4 and Monday 5. These concerts are followed by a further appearance with the Orchestra Oviedo Filarmonia in Spain, on December 16, with a program that includes Dvorak’s Symphony n. 8. As a regular guest of the Orchestra Haydn Orchester, Mr. Fagen will conduct on December 21 in Trento a program featuring works by Mozart, Vivaldi and Corelli, and on January 1, he conducts the Saarlaendisches  Staatsorchester’s New Year Concert at the Theater Saarbruecken in Germany.

More information at:
www.volkstheater-rostock.de
www.haydn.it
www.theater-saarbruecken.de

NOVEMBER 2011
ARTHUR FAGEN CONDUCTS LUCIA DI LAMMERMOOR, THE FIRST PRODUCTION OF THE ATLANTA OPERA 2011-2012

Donizetti’s Lucia di Lammermoor will open the 2011-2012 season of the Atlanta Opera at the Cobb Energy Centre. Arthur Fagen, in his inaugural season as Atlanta Opera Music Director, will conduct the production on November 12, 15, 18 and 20, 2011. Mr. Fagen has been conducting several new productions in Atlanta during past years, as The Magic Flute, Glass’s Akhnaten and The Flying Dutchman.  During the season Mr. Fagen will also conduct Mozart’s Don Giovanni.

Latest reviews:

A well-conceived production of Mozart’s “Cosi fan tutte,” sung, played and done equally well.... Conductor Arthur Fagen had the full measure of things, exhibiting in his leadership a keen sensitivity to tonal quality, style, pace, clarity, and balances. The Chamber Orchestra, augmented by harpsichord and continuo cello for period authenticity, responded with ardor and elasticity.

www.heraldtimesonline.com , Peter Jacobi, September 26, 2011

Arthur Fagen conducted a nicely paced performance with attention to orchestral and vocal details. He has the Chamber Orchestra up a bit higher in the pit than usual, which visually made them seem more involved in the production. The sound was excellent throughout.

www.indianapublicmedia.org, George Walker, September 26, 2011




AUGUST - SEPTEMBER 2011
Arthur Fagen is already a permanent guest at the Bolzano Festival Bozen, where he conducts each year the Haydn Orchestra. This year, Mr. Fagen will lead the orchestra through a Liszt celebratory program conducting his both concertos for piano and orchestra at the  Busoni Competition and the final evening on Sept. 2. Meanwhile, the rave reviews continue to appear in magazines like Fanfare, Musical America, The American Record Guide, about the latest recordings and opera productions such as Der Cid and Vincent.

Enjoy the live streaming of Liszt concertos on August 30 and 31 on:
www.concorsobusoni.it

On Friday September 2nd, 8.30pm there will be a live radio broadcast of the great final round of the Busoni Competition. The program will be broadcast by the Italian Radio Rai 3.

Mr. Fagen will conduct the opening of W.A. Mozart’s “Cosí fan tutte” at Bloomington's Musical Arts Center when Indiana University Opera Theater's 2011-12 season opens next week. Mozart's timeless comedy will debut Friday, Sept. 23, with additional performances Sept. 24, 30 and Oct. 1. The Sept. 23-24 performances will be video-streamed live at http://music.indiana.edu/iumusiclive, embellished by live blogging from IU Jacobs School of Music musicology students.

Latest reviews:

Einen hohen Anteil am Gelienger dieser Inszenierung hatte das Dirigat von Arthur Fagen. Auf hohem Niveau führte er das Saarländische Staatstheater durch die Partitur. Sein souveräne, von großer Intensität und hoher musikalischer Sensibilität gezeichnete Leitung garantierte nicht nur das nahtlose Zusammenspiel von Solisten, Chor und Orchester, sondern führte auch durch eine zügige und analytische Behandlung des Orchester geschickt über die Länger und „Untiefen“ der Partitur hinweg. Der uneingeschränkten Anerkennung von Fagens Leistung, die die Einstudierung des Chores durch Jaume Miranda einschließt, muss auch die der Solisten zur Seite treten.

Michael Pitz-Grewenig, Das Orchester, September 2011

Fagen and the Orchestra respond with stunningly articulated clarity, and the close-up recorded sound is as fine as one could wish for. If we add to this the informative notes, this becomes a must purchase.

Alan Becker, The American Record Guide, March / April 2011

The Piano Concerto No. 1, written by the 35-year-old Martinů two years after he’d left his native land for Paris, is a neoclassical piece dressed in a sort of neobaroque style that he may have absorbed from Stravinsky’s Pulcinella, Prokofiev’s “Classical” Symphony, and music he’d possibly heard by one or another of Les Six in some of the Parisian cabarets. Breezy, brisk, and a bit cockeyed, Martinů’s score delights in bending the ear with tuneful bitonality. But the piece also recalls the composer’s not-so-distant homeland and romantic roots, as it does in the meltingly beautiful, Czech-tinged Andante movement.
Martinů was well into his Parisian period when he wrote his Piano Concerto No. 2. The bitonality and French cabaret elements seem largely gone, as the music takes on a more serious, almost Brahmsian, cast. It’s as if Martinů is returning to his romantic roots. The Poco Andante confirms as much with a movement which, according to the note authors “seems to be an unabashedly romantic homage to Brahms.” If you’re just beginning to explore the music of Martinů and/or you’re on a budget, this fine Naxos release can be recommended without reservation. Once again, there is much to enjoy on this new Naxos recording. Certainly if you acquired the first volume, you’ll want this one. And though I may have expressed a slight preference for one or another version of these works, Koukl and Fagen do not disappoint. Fine performances and a well-engineered recording make for a positive recommendation.

Jerry Dubins, Fanfare, May 2011

The orchestra, conducted by Arthur Fagen, played with sonorous beauty, delicate and powerful by turns .... So impressed was I by the opera and its production that I returned for a second performance. This is an opera that should be taken up by the operatic establishment. .... Dramatic and accessible, it is an opera from the heart to the heart.

Charles H. Parsons, American Record Guide, June 2011

.....the impeccably prepared cast on opening night (lead roles alternate) .....performed admirably. Best to characterize the performances as being of high quality; things in the pit were even more impressive, as Arthur Fagen guided the Philharmonic Orchestra through Rands’s peaks and valleys, so eloquently crafted to match Vincent’s own.

Susan Elliott, MusicalAmerica.com, April 14, 2011

JUNE-JULY 2011
Theodore Gouvy’s opera Der Cid continues to achieve tremendous success after its première on June 3 at the Saarländischen Staatstheater

Arthur Fagen earned outstanding reviews on his conducting of Gouvy’s world première Der Cid ( please see press quotes ).  Last three performances of the opera can still be heard on June 11, 16 and 18. Soon after Mr. Fagen flies to South America to conduct the Orquesta Filarmonica de Montevideo, Uruguay. The concert will take place on July 4. In August Mr. Fagen will conduct the Orchestra Haydn of Bolzano, Italy. 

On Saturday June 11th, 8pm there will be a live radio broadcast of the entire opera Der Cid; this broadcast will be realized by the Saarländischer Rundfunk. The opera will be broadcast in the following countries on air: Portugal, Spain, Croatia, Bulgaria, Serbia, U.S.A., Czech Republic, Ireland, Norway, Austria, Estonia, Switzerland, Slovenia. In Germany: Hessischer Rundfunk, Deutschland Radio and Bayerischer Rundfunk. Some more are expected to join in with a total of about 7 million listeners.

Tune in on Saturday at SR2 Kulturradio:
http://www.sr-online.de/sr2/351/

(click on one of the live-stream buttons on this page) More information on the broadcast:

http://www.sr-online.de/sr2/2213/1238756.html
http://www.theater-saarbruecken.de

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