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Giacomo Puccini, Madama Butterfly, Atlanta Opera, US, Novembre 2014
Al mando de la orquestra se encontraba el director musical Arthur Fagen, quien como siempre supo destacar la belleza de la musica de Puccini con fuego y serenidad. La sutileza de los violinos y el estrepito de los bronces, junto a las delicadas notas etereas que componian las basas armonicas de este filigrana de sonido, mostraban el alma sensible de este concertador.
Pro Opera, January/February 2015

Maestro Arthur Fagen led the Atlanta Opera Orchestra and chorus with aplomb. Both performed well under his leadership, providing the solo singers with generous phrasing and harmonies upon which they could rely [...] Atlanta's Cobb Energy Performing Arts Centre was almost filled to its 2750-seat capacity on opening night.
Opera News, February 2015

Giuseppe Verdi, Traviata, Boston Lyric Opera, U.S., October 2014
The orchestra from the first swish of Arthur Fagen’s baton was exquisite. The strings hummed with the sweet sadness layered in Verdi’s score. Listening to the Act 1 prelude carried the audience to Violetta’s party in scene 1. The orchestra played as one instrument while accompanying the vocalists on stage.

Kitty Drexel, netheatregeek.com, October 16, 2014

The first Act Prelude was gorgeous, replete with ethereal strings and delicately calibrated dynamics....Fagen's conducting was otherwise admirable, in particular showing great attentiveness to Verdi's orchestration.

Boston Classical Review - Angelo Mao , October 11, 2014


Friday night the orchestra, led by Arthur Fagen fizzed under the chorus's opening "Dell'invito trascorsa  e' gia l'ora" ....affording the singers plenty of room.

Eric Antoniou, Boston Globe, October 12, 2014


And I liked the grand-but-tender sounds I heard guest conductor Arthur Fagen teasing from the orchestra down in the pit.
 
The Hub Review, Thomas Garvey, October 16, 2014


I must reserve some praise for the excellent playing of the BLO Orchestra under Arthur Fagen. They infallibly set the mood, often with self-effacing virtuosity, e.g., the introduction to Flora's party and its entertainment portions. Also, at the very beginning of the opera, the ppp strings materialized out of nothing to describe a mixture of tragedy, hope, yearning, and love, symbolic of Violetta - and indeed the opera itself.

Geoffrey Wieting, The Boston Musical Intelligence, October 16, 2014

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