Reviews - press
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Giacomo Puccini, Tosca, Atlanta Opera, October 2013
"Maestro Arthur Fagen's interpretation of the score was eloquent and skillful. Few understand the complexities of unifying under a baton the multiple elements that come to life in a work of this kind. Fewer are able to harness them together to deliver a coherent performance that doesn't under or overwhelm and doesn't drown singers with its intensity....Maestro Fagen delivered a wonderful mixture of colors that adequately complimented vocal creation and dramatic intension.... At the end of the night, the audience offered a well-deserved standing ovation with enthusiasm, one that said with distinction 'laudamus te' Atlanta Opera, this is a production to be proud of and we are certainly proud of you!"
Maria Pia Ugarte, The Examiner, October 16, 2013

If you like opera, or you think you might like opera, get your tickets because this is one of the best productions in years, with great singers, sets, costumes, music, lighting and all the elements that bring a classic story of treachery to life with a high degree of theatricality that is a delight. The orchestra under the baton of Arthur Fagan does a terrific job and the entire production directed by Tomer Zvulun is first-rate.
The Atlanta Cultural Arts Reviews,
October 13, 2013

Arthur Fagen leads a well-rehearsed, clean-diction orchestra ....
Christie Grimstad,,
October 5, 2013

El director de orquesta Arthur Fagen logró una extraordinaria lectura del libreto, donde los instrumentos se acoplaron perfectamente y se escuchó la musica de Puccini en toda su plenitud. Indudablemente que el maestro conoce la partitura a la perfección y agregó su toque personal como artista.
Ximena Sepulveda, Pro Opera, January/February 2014

Rossini, Respighi, Mozart, Indianapolis, October 2013
Conductors skills and background the right mix

[....] on Wednesday evening a beautifully prepared concert in Auer Hall by the Chamber Orchestra: Rossini's Overture to La scala di seta, Ottorino Respighi's Gli Uccelli and Mozart's Symphony n. 40.
Meticulous and warm held true in Wednesdays readings. One discerned wit and effervescence, too, as the orchestra skipped
and pranced through the melodies and forged the crescendos in the curtain raiser Rossini wrote for his one act comedy about a secret marriage that prompts all sorts of misadventures,including
the husbands use of a silken ladder to reach his wife's bed chamber.
Maestro Fagen had skillful orchestration at his disposal in the Respighi. Known best for two large-scaled and lush tone poems
about the fountains and pines of Rome, in Gli uccelli, the composer, in 1928, made use of Italian and French music from the 17th and 18th centuries to fashion a five-movement suite
paying homage to birds. A get-things-started Prelude is followed by sound portraits of La colomba, La gallina, L'usignuolo and Il
Cucu. A brilliant orchestrator, Respighi sagaciously outlined those winged creatures. Conductor and orchestra filled in the details with a richly colored and robust performance.
The Mozart Symphony Number 40, one of his final three, calls for dramatic tension, elegance, transparency, and an aura of spontaneity.
All these, Fagen's interpretation and facilitation possessed, and in generous measures. Very much present, too, were the hard-to-capture but needed blends of moods dark and light, of the
agitated and poignant, of the melancholic and joyous.

By Peter Jacobi,

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