“Rose’s baton was swift and secure, and the conductor mined every ounce of drama from the score. He drew orchestral accompaniment that was sensitive to the singers’ every phrase. The ballet in Act 4, with its rustic verve and quick Parisian waltzes, was a particular non-vocal highlight.”
-Aaron Keebaugh, Boston Classical Review on Gounod’s La Reine de Saba, September, 2018
“Rose led a buoyant and fluid performance from the pit, drawing limpid playing from the orchestra right up through Joan’s final ascension to heaven”
-Jeremy Eichler, The Boston Globe on Verdi’s Giovanna d’Arco, April, 2018
“Rose and the orchestra gave the piece a reading of stirring energy and delicacy.”
-Aaron Keebaugh, Boston Classical Review on Dello Joio’s The Trial at Rouen, December, 2017
“Gil Rose led the assorted forces with his accustomed clarity and assurance ”
-John Ehrlich, Boston Musical Intelligencer on Donizetti’s Siege of Calais, October 2017
“Hats off to Odyssey artistic director Gil Rose for dreaming this project up. With this season’s offering he has truly outdone himself. From the podium Rose led the large orchestra and chorus in what amounted to a triumph of stamina and execution”
-Jeremy Eichler, The Boston Globe on Tchaikovsky’s Maid of Orléans, September 2017
“Conductor Gil Rose displayed his usual sense of style and sophistication, letting the playfulness of the score bubble up naturally and never winking to the audience to indicate how much fun they should be having.”
-Kalen Ratzlaff, Opera News on Gilbert & Sullivan’s Patience, June 2017
Once again, Rose has proven to be a master of rediscovery of undeservedly overlooked music. It’s a role we should never take for granted.”
-Jack Craib, The South Shore Critic on Lowell Liebermann’s The Portrait of Dorian Gray, November 2016
“Gil Rose led a compelling performance of this long and often gripping work, in its Boston premiere.””
-Lloyd Schwartz, WBUR Year End review on Antonin Dvorák’s Dimitrij, December, 2016
“At Jordan Hall, Odyssey artistic director Gil Rose pulled out every stop in a performance that ran just over four hours, his reading accorded full justice to the thunder and lightning of Russian history.”
-Jeffrey Gantz, Boston Globe on Antonin Dvorák’s Dimitrij, September 2016
“This performance of Dimitrijrepresents the fourth time in as many years that Gil Rose and Odyssey Opera have provided an exceptionally special and rare musical experience to Boston opera lovers.”
-Steven Ledbetter, The Boston Musical Intelligencer on Antonin Dvorák’s Dimitrij, September 2016
"Conductor Gil Rose was something of a Cid himself on the podium Friday, marshaling his large forces in the seemingly-endless series of crashing climaxes typical of this genre."
-David Wright, Boston Classical Review on Jules Massenet’s Le Cid, September 2015
"Conductor Gil Rose paced the opera’s many climaxes well and kept things flowing both smoothly and, considering the amount of music to get through, rather briskly… In the (performance) category, Odyssey remains the gold standard for professional opera in Boston."
-Jonathan Blumhofer, The Arts Fuse on Jules Massenet’s Le Cid, September 2015
“Given Rose’s taught, exciting conducting, it’s time to put aside fears of this opera’s “impossible” length … The audience gave the performers and triumphant conductor Gil Rose a tumultuous ovation”
-William Fregosi, Parterre Box on Richard Wagner’s Rienzi, September 2013
“Gil Rose kept everything moving with a fire-breathing momentum that shaped the whole performance.”
-Lloyd Schwartz, New York Arts on Richard Wagner’s Rienzi, September 2013
“But the real star Sunday might have been the Odyssey Opera orchestra. Complemented by offstage bands and women’s chorus, conductor Gil Rose seemed determined to pull all the stops for this performance. It is to his credit that he not only sustains but rides Wagner’s relentless orchestra climaxes without losing orchestral clarity.”
-Angelo Mao, Boston Classical Review on Richard Wagner’s Rienzi, September 2013
“Conductor Gil Rose was very much in his element, doing what he does best: keeping up the momentum, offering flawless guidance to the singers and instrumentalists and bringing clarity to almost unbearable musical intricacy.
-Tom Schnauber, The Boston Musical Intelligencer on Paul Hindemith’s Cardillac, February, 2011
“If Gil Rose and Opera Boston get any hotter, we’re going to have to declare Boston a tropical paradise.”
-Keith Powers, The Boston Herald on Bedrich Smetana’s The Bartered Bride, May 2009
“Clearly Gil Rose's experience with contemporary music has developed his ability to read the classics with a fresh ear. There is no doubt that he is one of the most brilliant conductors of the upcoming generation.”
-Michael Miller, The Berkshire Review for the Arts on Karl Maria von Weber’s Der Freischutz, October 2008
“Gil Rose is one of Boston’s most skillful and versatile conductors.”
-Lloyd Schwartz, The Boston Phoenix on Giuseppe Verdi’s Ernani, May, 2008
"Gil Rose emerged as a Mozart conductor of energy and refinement."
-Lloyd Schwartz, The Boston Phoenix on Wolfgang Mozart’s La Clemenza di Tito, October 2006
"Gil Rose conducted with admirable command."
-Bernard Holland, The New York Times on Peter Eotvos’ Angels in America, June 2006
"And the applause that greeted the gifted and committed conductor Gil Rose when he appeared to begin the second act showed that the audience recognizes him for the local hero he is"
-Richard Dyer, The Boston Globe on Peter Eotvos’ Angels in America, June 2006
"...the amazingly versatile conductor Gil Rose showed himself the master of yet another operatic style."
-Richard Dyer, The Boston Globe on Gaetano Donizetti’s Lucrezia Borgia, April 2006
"In La Vie Parisienne there are more melodies than you can shake a stick at, so conductor Gil Rose shook a stick at them, giving each of them a voluptuous curve, a pinch on the bottom, an ooh la la, and, when it counted, a half hidden tear."
-Richard Dyer, The Boston Globe on Jacques Offenbach’s La Vie Paressienne October 2004
"Opera Boston's music director, Gil Rose, proved himself a superb Verdian, thinking out both the subtle details of small phrases and the sweep of entire scenes."
-Lloyd Schwartz, The Boston Phoenix on Giuseppe Verdi’s Luisa Miller, May 2004
"Gil Rose turns out to conduct Verdi as stylishly as he conducts everything else; he was first-rate, and the orchestra played well for him."
-Richard Dyer, The Boston Globe on Giuseppe Verdi’s Luisa Miller, May 2004
“Rose captured a sly wit by coaxing playing well attuned to the buoyancy and grace of once popular musical styles”
--Aaron Keebaugh, Boston Classical Review, October 2019
“BMOP concerts constitute real events, Give Rose and his musicians a chance. Perhaps you will happen upon a new composer who you can speak to you-musically and conversationally.”
--Ian Wiese, The Boston Musical Intelligencer, October, 2018
“Rose led BMOP in a forceful, sometimes breathless, reading of the piece, one in which the music’s dark undercurrents glowed ominously.”
— Jonathan Blumhofer, The Arts Fuse, February, 2018
“Conductor Gil Rose, with his clarity of focus, guided the deliberate and frenetic energy of the final movement.”
— David Stevens, The Boston Musical Intelligencer, February, 2017
“Gil Rose conducted with his customary alertness and precision.”
— Mark DeVoto, The Boston Musical Intelligencer, October, 2016
“Gil Rose demonstrated on Friday evening at the New England Conservatory’s Jordan Hall, when he led the Boston Modern Orchestra Project and the soprano Courtenay Budd in a stunning performance of “Child Alice,” the most ambitious work in the series.”
— Allan Kozinn, The Wall Street Journal, March, 2016
“On that last count Del Tredici is fortunate, as are we listeners, to have an advocate so resourceful, skillful, and determined as Rose.
— Steve Smith, The Boston Musical Intelligencer, March, 2016
“As one has come to expect, BMOP music director and conductor Gil Rose led his forces with verve and style, cutting an easy path for the listener through a thick orchestral text. His orchestra played as if they were one of the Big Five”
— David Bonetti, Berkshire Fine Arts, April 2016
“Gil Rose and the orchestra delivered a reading that bristled with energy, wry humor, and an unsettled emotional urgency”
—Jonathan Blumhofer, The Arts Fuse, November, 2015
“Rose and the orchestra were attuned to his rhetoric, turning the sheer atmospheric presence of slow-moving and even static landscapes to dramatic ends”
—Matthew Guerrieri, The Boston Globe, September 20, 2015
"Rose’s unmannered conducting of the two dance scores kept the kinetic spirit moving whether it was in sustained contemplation or ferocious energy… Rose keeps the tension up, controlling the vivid opposition of wildly whirling circles of woodwind figures or dissonant rhythmic chords… Gil Rose’s conducting is clear and unfussy, pulling the busy elements together precisely, for all the rhythmic energy and complexity."
— Steven Ledbetter, The Boston Musical Intelligencer, July 21, 2015
"Gil Rose led with authority from first note to last."
— John Ehrlich, American Record Guide, March 2015
"It’s not too much to say that classical music in the region wouldn’t be nearly as rich, meaningful, or fun as it is without Rose’s tireless advocacy for, especially, the fringes of the repertoire."
— Arts Fuse, December 24, 2014
"Sunday’s performance sparkled under Gil Rose’s baton."
— Jeremy Eichler, The Boston Globe, December 9, 2014
"The programming, devised by the festival’s artistic director, Gil Rose, is typically as varied and engaging as, well, we’ve come to expect from Rose’s programming for his other ensembles. It all adds up to something far from predictable, even when the music is familiar. Take Saturday night’s opening night program. It read like a Mendelssohn greatest hits parade ... Rose and the orchestra paid close attention to the details of the score, which resulted in a reading that was both forceful and, texturally, remarkably clear."
— Jonathan Blumhofer, Arts Fuse, July 16, 2014
"Rose and the orchestra performed it with enormous drama and passion ..."
— Rodney Lister, Sequenza 21 on Irving Fine’s Symphony, May 17, 2014
"The orchestra, under artistic director Gil Rose, played with an assurance that is both familiar and still astonishing."
— David Weininger, The Boston Globe, January 20, 2014
"Conductor Gil Rose drew a consistently passionate and luminous sound from his orchestra … I was impressed once again by his versatility."
— The Hub Review, November 24, 2013
"Rose seemed highly engaged, and pursued clarity and precision to excellent effect … Rose and the orchestra dug into the sheer physicality of this music."
— Vance Koven, The Boston Musical Intelligencer, February 18, 2013
"Rose conducted the orchestra with real feeling, driving it propulsively and bringing out all the color of its tightly woven sonic tapestry."
— David Bonetti, Berkshire Fine Arts, November 18, 2012
"Rose and the orchestra pumped those colors up to almost overwhelming affect – a wall of brawny, gleaming sound."
— Matthew Guerrieri, Musical America, November 13, 2012
"Its glorious score, laced with startlingly complex counterpoint and icy-clear vocal styling, made it a perfect vehicle for the no-challenge-too-great BMOP and its inimitable leader."
— Keith Powers, Boston Classical Review, November 11, 2012
"Rose’s handling of brass is often breathtaking."
— Matt Temple, Stylus, May 31, 2012
"Rose next led one of the best live performances I’ve ever heard of one of the 20th century’s most sublime ballet scores."
— Lloyd Schwartz, The Boston Phoenix, May 30, 2012
"BMOP’s artistic director Gil Rose deftly conducted the eclectic program with his customary avant-garde calm."
— Harlow Robinson, The Boston Globe, January 30, 2012
"The BMOP players and Mr. Rose were with him every step of the way, energetically articulating the score’s kaleidoscopic colors … [they] again procured ideal accompanists, enunciating the score’s architecture with clarity and purpose … they are one of the city’s – and the nation’s – most important musical treasures."
— Jonathan Blumhofer, The Arts Fuse, January 29, 2012
"Rose maintained a strong intensity throughout the work and under his attentive direction, the musicians delivered a remarkably moving performance."
— Keith Powers, Boston Classical Review, November 21, 2011
"BMOP's performance left the audience in a stunned silence that broke into violent applause."
-Sudeep Agarwala, The Tech, March 19, 2010
“Gil Rose is a wonderful conductor, and amazes everybody around this city with his undertakings with this ensemble and also with Opera Boston, which he directs.”
-Charles Warren, The Berkshire Review for the Arts, March 30, 2009
“Artistic Director Gil Rose, presented with Columbia University’s Alice M. Ditson Conductor’s Award prior to the concert, led notably crisp, articulate performances; the ensemble’s lean clarity ideally matched each divergent course.”
-Matthew Guerrieri, The Boston Globe, January 29, 2008
“BMOP, under Gil Rose, gave the kind of vital, secure performances we have come almost to take for granted. May the remain glorious and subversive for years to come.”
-David Weininger, The Boston Globe, November 6, 2007
“BMOP’s performances draw the city’s youngest concert crowds by far, with their combination of Rose’s savvy programming, the orchestra’s incisive and stylish playing, and a general vibe that somehow weds a breezy coolness with a healthy dose of chaos.”
-Jeremy Eichler, The Boston Globe, October 28, 2007
"...sculpted with conductor Gil Rose’s characteristic verve and clarity."
— Kevin Lowenthal, The Boston Globe, November 7, 2006
"The audience went wild for the soloist, the band, the piece, the composer, and BMOP’s animator, the versatile, unobtrusive, and expert Rose."
— Richard Dyer, The Boston Globe, May 29, 2006
"Rose displayed a keen understanding of how to pace the large work."
— Andrew Druckenbrod, Pittsburgh Post-Gazette, January 30, 2006
"When the music finally stopped, the audience brought Gil Rose out for three curtain calls - deservedly so."
— Galen Brown, Sequenza 21, February 20, 2005
"Throughout, Rose and the orchestra nailed every detail, in every style. BMOP's opening concert set a high bar for all contemporary-music events this season."
— Lloyd Schwartz, The Boston Phoenix, October 7, 2004
"The Boston Symphony Chamber Players, led by conductor Gil Rose, delivered a positively glowing rendition of Wagner's
— Ted Medrek, The Boston Herald, August 4, 2004
"BMOP founder and artistic director Gil Rose has a genius for programming … all the performances were first-rate, and Rose leads every piece as if it were his favorite."
— Richard Dyer, The Boston Globe, May 26, 2004
"Gil Rose led his excellent ensemble with unmistakable skill, featuring a meticulous ear for balance and detail."
— David Clearly, New Music Connoisseur, May 24, 2004
"BMOP Music Director Gil Rose - who in less than a decade here has become one of the most important musicians in this city - led his marvelous orchestra..."
— Ted Medrek, The Boston Herald, May 23, 2004
"Gil Rose never met a score he couldn't tame."
— Keith Powers, The Boston Herald, January 18, 2004
"If there were a classical music man of the month, November would surely belong to conductor Gil Rose. Indeed, sometimes it’s hard to imagine how Boston music existed before Rose arrived in town."
— T.J. Medrek, The Boston Herald, November 14, 2003
"Gil Rose and his BMOP forces gave it their everything — a detailed, rich, ravishing performance."
— Richard Buell, The Boston Globe, October 6, 2003
"…handsomely played by the Boston Modern Orchestra Project under Gil Rose, a hero of the evening."
— Richard Dyer, The Boston Globe, April 28, 2003
"This listener will sit in a room any time with Gil Rose conducting."
— Keith Powers, The Boston Herald, December 1, 2002
"Artistic Director Gil Rose puts together programs with punch, and he and his ensemble have whacked 20 years off the average age of the usual concert audience."
— Richard Dyer, The Boston Globe, October 15, 2002
"All performed flawlessly. And much of the credit for that must surely go to Gil Rose himself — the tall, graceful, soothingly assured figure standing amidst the mayhem, his alchemist's wonder and delight at the transcendent effect of the music's manifold ingredients very much apparent. The fact that such feelings were also rife amongst the audience was unequivocally attested to by the gasps that accompanied the finales of each of the four pieces performed."
— Paul Jump, Arts Editor, March 2002
"New music often makes concert-goers run for the emergency exits. But in the hands of experts like Gil Rose and his Boston Modern Orchestra Project, new work is as comforting as a snug blanket in the winter. The full house at Jordan Hall this snowy Saturday evening enjoyed this expertise in a startling program of recent compositions."
— Keith Powers, The Boston Herald, January 21, 2002
"Rose's BMOP concert during the convention of the American Symphony Orchestra League last May blew the socks off the jaded delegates."
— Richard Dyer, The Boston Globe, October 6, 2000
"The concert by Gil Rose and the Boston Modern Orchestra Project on Saturday morning was sensational; a member of a panel afterward said it may have been the best single concert he had ever heard."
— Richard Dyer, The Boston Globe, June 23, 2000
"Mr. Rose and his team filled the music with rich, decisive ensemble colors and magnificent solos. In scores whose dominant expressive position is one of rapture, these musicians were rapturous."
— Paul Griffiths, The New York Times, March 30, 2000
"Music director Gil Rose is some kind of genius; his concerts are wildly entertaining, intellectually rigorous, and meaningful. He combines a fanatical attention to detail with a hang-loose insouciance that sets the tone for the entire orchestra. With him and the band, music is a liberated living thing, dancing off the page and outside the box."
— Susan Larson, The Boston Globe, October 11, 1999
"Rose, an incisive and forthright conductor."
— Donald Rosenberg, The Cleveland Plain Dealer, April 21, 1999
"Gil Rose comes up with the most interesting programs in town, hires the snazziest musicians to play them and conducts knock-out performances... Rose led a chamber-sized band in an iridescent performance... Rose kept our feet to the fire throughout this clenched and questioning work, and the orchestra's playing was simply electrifying."
— Susan Larson, The Boston Globe, February 14, 1998
"You're not likely to find local concert programs more unusual, more challenging and more satisfying than those of the Boston Modern Orchestra Project and its music director, Gil Rose."
— Ted Medrek, The TAB, February 14, 1998
"The performance directed by Gil Rose was outstanding... directed with sureness of purpose and delight in the wonder of things."
— Richard Dyer, The Boston Globe, May 19, 1997
"...music director Gil Rose, a no-nonsense conductor who eschews conductorial choreography in favor of plain competence. He knows the music cold, and never turns his attention from the orchestra. The orchestra, in turn, plays extremely well."
— Michael Manning, The Boston Globe, November 5, 1996
"...a gifted music director, Gil Rose. In an ambitious evening Thursday, he proved that his music-making is as lively as his programming ideas."
— Ellen Pfeifer, The Boston Herald, April 12, 1996
“Gil Rose conducts a performance of arresting character, finesse and instrumental prowess.”
-Donald Rosenberg, Gramophone on David del Tredici: Child Alice (BMOP/sound 10563/2018)
The 25 Best Classical Music recordings of 2017
“This exciting recording of four works by Stephen Hartke, written over some 30 years, confirms that he is one of the most distinctive and important living composers.”
-Anthony Tommasini, The New York Times on Stephen Hartke: The Ascent of the Equestrian in a Balloon (BMOP/sound 1052, 12/2017)
“Rose conducts with a pace and wit”
-Stereophile on Virgil Thomson: Four Saints in Three Acts (BMOP/sound 1049, 2/2017)
“Gil Rose conducts a performance at once elegant and vibrant.”
-Donald Rosenberg, Gramophone on Virgil Thomson: Four Saints in Three Acts (BMOP/sound 1049, 2/2017)
“Gil Rose invests each score with incisive and brilliant intensity”
-Donald Rosenberg, Gramophone on Kati Agocs: The Debrecen Passion (BMOP/sound 1046 1/2016)
“Rose and BMOP aren’t afraid to really let it rip in this music’s most powerful moments.”
-Geoffrey Larson, Second Inversion, King FM 98 on Mason Bates: Mothership (BMOP/sound 1045 1/2016)
The Best local classical albums of 2015
“performances under Gil Rose all the vibrancy that this relentless original music deserves”
David Weininger, The Boston Globe on Lukas Foss: Complete Symphonies (BMOP/sound 1043 12/2015)
"”Gil Rose and the Boston ensemble raise the sonic roof when the aren’t savoring the delicate pleasures in Crockett’s music
- Donald Rosenberg, Gramophone on Donald Crockett: Blue Earth (BMOP/sound 1042, 9/2015)
“Conductor Gil Rose does a masterful job in presenting and pacing these performances."
- Fanfare on Irving Fine: Complete Orchestral Works (BMOP/sound 1041, 6/2015)
"Rose and the ensemble have produced a series of terrific albums over the last few years. As far as I’m concerned, this one is their finest yet."
- The ArtsFuse on Andrew Norman: Play (BMOP/sound 1040, 5/2015)
"Gil Rose conducts the BMOP in richly detailed and vivid performances."
- Donald Rosenberg, Gramophone on Elena Ruehr: O’Keeffe Imagines (BMOP/sound 1039, 5/2015)
"Now there is an essential and rewarding new recording of Fine’s complete orchestra works, performed with expertise, zest and style by the Boston Modern Orchestra Project conducted by Gil Rose … Most important, though, is this arresting account of Fine’s Symphony."
- Anthony Tommasini, The New York Times on Irving Fine: Complete Orchestral Works (BMOP/sound 1041, 4/2015)
"As usual the BMOP under Gil Rose turn in fantastic performances."
- New Music Buff on Irving Fine: Complete Orchestral Works (BMOP/sound 1041, 3/2015)
"in a brashly confident performance by BMOP and Gil Rose, that most clearly points up Norman’s staggering imagination and talent."
- David Weininger, The Boston Globe on Andrew Norman: Play (BMOP/sound 1040, 3/2015)
"2014 Best Classical Music Album Pick."
- Jeremy Eichler, The Boston Globe on Lou Harrison: La Koro Sutro (BMOP/sound 1037, 12/2014)
"Under Gil Rose’s baton, the Providence Singers sang with distinction, but the work’s spell was equally cast by the sui generis ensemble of percussion instruments on stage."
- Jeremy Eichler, The Boston Globe on Lou Harrison: La Koro Sutro (BMOP/sound 1037, 7/2014)
"Gil Rose and the Boston Modern Orchestra Project once again prove why they are one of the country’s leading contemporary music ensembles. The performances are outstanding and the recording is wonderful."
- Daniel Coombs, Audiophile Audition on Anthony Davis: Notes from the Underground (BMOP/sound 1036, 3/2014)
"Gil Rose conducts the Boston Modern Orchestra Project with verve and understanding and the orchestra responds accordingly, idiomatically."
- Gapplegate Classical on Lewis Spratlan: Apollo and Daphne Variations (BMOP/sound 1035, 2/2014)
"Bedlam never sounded as good as it does in the hands of Rose and BMOP."
- Jonathan Blumhofer, Arts Fuse on George Antheil: Ballet Mecanique (BMOP/sound 1033, 1/2014)
"This collection is a handsome tribute to Babbitt, and the performances by Gil Rose and the Boston Modern Orchestra Project are committed and quite polished in these studio recordings."
- Clair Sanderson, All Music on Milton Babbitt: All Set (BMOP/sound 1033, 12/2013)
"Gil Rose conducted to create the beautiful sound."
- Whirl Magazine on Mathew Rosenblum: Mobius Loop (BMOP/sound 1032, 10/2013)
"The recordings are staggering in detail, weight, sound stage, and impact."
- Laurence Vittes, Gramophone on Andy Vores: Goback Goback (BMOP/sound 1030, 9/2013)
"Mr. Rose and BMOP are with her every step of the way, conjuring musical spells of their own through Druckman’s swirling eddies of sound … throughout the album, Mr. Rose draws playing from BMOP that is basically flawless: the ease with which this orchestra jumps about, stylistically, in contemporary repertoire is simply astonishing."
- Jonathan Blumhofer, Arts Fuse on Jason Druckman: Lamia (BMOP/sound 1029, 8/2013)
"Best Albums of 2013."
- Jeremy Eichler, The Boston Globe on Michael Gandolfi: From the Institutes of Groove (BMOP/sound 1028, 5/2013)
"The Concerto is presented masterfully under Rose’s baton."
- Marakay Rogers, Broadway World on Martin Boykan: Orchestral Works (BMOP/sound 1027, 3/2013)
"NPR Classical’s 10 Favorite Albums of 2013."
- NPR on Reza Vali: Towards the Endless Plain (BMOP/sound 1026, 2/2013)
"Throughout the disc, Rose draws playing of wildly brilliant colors and idiomatic spirit from BMOP. This is an orchestra as versatile as any, as they show again and again, and this album is a triumph on all counts."
- Jonathan Blumhofer, Arts Fuse on Reza Vali: Towards the Endless Plain (BMOP/sound 1026, 2/2013)
"Rose conducts his fine orchestra with warmth, and the recorded sound is excellent."
- D Moore, American Record Guide on Paul Moravec: Northern Lights Electric (BMOP/sound 1024, 12/2012)
"Mr. Rose draws readings from BMOP and soloists that are fully committed and expressively nuanced."
- Jonathan Blumhofer, Arts Fuse on Paul Moravec: Northern Lights Electric (BMOP/sound 1024, 12/2012)
"Conductor Gil Rose draws an energetic, prismatic performance from BMOP, and the singing is uniformly excellent."
- Arts Fuse on John Harbison: Winter’s Tale (BMOP/sound 1023, 8/2012)
"As usual with Gil Rose and the Boston Modern Orchestra Project, precision and passion magically fuse."
- Jed Distler, Gramophone on Ziporyn: Big Grenadilla/Mumbai (Cantaloupe 21081, 4/2012)
"Q2 Music Album of the Week … a full-colored performance from Gil Rose and the Boston Modern Orchestra Project."
- Olivia Giovetti, WQXR on Ziporyn: Big Grenadilla/Mumbai (Cantaloupe 21081, 4/2012)
"Excellent work, as usual, by Gil Rose and BMOP."
- Peter Burswasser, Fanfare on Eric Moe: Kick & Ride (BMOP/sound 1021, 11/2011)
"Q2 Music Album of the Week."
- WQXR on Eric Moe: Kick & Ride (BMOP/sound 1021, 11/2011)
"Rose’s performance of the symphony, giving the music all the time it needs to breathe, is really something that it would have been a shame to miss."
- Paul Corfield Godfrey, Music Web on Alan Hovhaness: Exile Symphony (BMOP/sound 1020, 10/2011)
- Steven Mackey: Dreamhouse (BMOP/sound 1019, 10/2010)
"Best Orchestral Finds of 2010."
- Classical Lost and Found on Virgil Thomson: Three Pictures (BMOP/sound 1018, 8/2010)
"The Boston Modern Orchestra Project’s ensemble is a fine group, and Gil Rose does a splendid job of conveying the lush beauty of Thomson’s music."
- Leonard Link on Virgil Thomson: Three Pictures (BMOP/sound 1018, 8/2010)
"Top Classical Album of 2010."
- Jeremy Eichler, The Boston Globe on Lisa Bielawa: In medias res (BMOP/sound 1017, 6/2010)
"The large concerto for orchestra gets a crackerjack performance under conductor Gil Rose."
- Joshua Kosman, San Francisco Chronicle on Lisa Bielawa: In medias res (BMOP/sound 1017, 6/2010)
"Under the baton of Gil Rose, the BMOP glows here."
- David Wolman, Fanfare on Lisa Bielawa: In medias res (BMOP/sound 1017, 6/2010)
"Gil Rose and the Boston Modern Orchestra Project play with an authority that seems directly analogous to that shown by groups such as the London Sinfonietta."
- Colin Clarke, Fanfare on Elliott Schwartz: Chamber Concertos I-VI (BMOP/sound 1013, 10/2009)
"Perhaps that’s due to Gil Rose’s emphasis on abrupt contrasts and brisk momentum; he takes the music at a faster pace and makes a good case for retrieving it from the vast and often misunderstood recesses of Cage’s catalog."
- Art Lange, Fanfare on John Cage: Sixteen Dances (BMOP/sound 1012, 9/2009)
"Best CDs of 2009" by The Boston Globe
Louis Andriessen: La Passione (BMOP/sound 1011, 6/2009)
"I can’t praise the performers highly enough … Gil Rose and his Boston Modern Orchestra Project have come up with one of the most consistently interesting series of modern and contemporary music in recent years. This definitely belongs in the winners’ circle."
- Classical CD Review on John Harbison: Full Moon in March (BMOP/sound 1010, 4/2009)
"As usual, Gil Rose’s ensemble is up to the task."
- Allen Gimbel, American Record Guide on John Harbison: Full Moon in March (BMOP/sound 1010, 4/2009)
"The performances by the Boston Modern Orchestra Project, led by Gil Rose are stellar."
- Stephen Eddins, Allmusic on John Harbison: Full Moon in March (BMOP/sound 1010, 4/2009)
"BMOP plays beautifully under Gil Rose's inspired direction and the recording has great clarity, presence, and timbral fidelity."
- Robert Schulslaper, Fanfare on David Rakowski: Winged Contraption (BMOP/sound 1009, 3/2010)
"Gil Rose and BMOP are sterling in their preparation and superlatively musical. The disc is one of the orchestra's best thus far, and the weightiest and most satisfying.
- Christian Carey, Sequenza 21 on David Rakowski: Winged Contraption (BMOP/sound 1009, 3/2009)
"Under Gil Rose's direction, the Boston Modern Orchestra Project has developed into a true virtuoso ensemble."
- Andrew Farach-Colton, Gramophone on David Rakowski: Winged Contraption (BMOP/sound 1009, 3/2009)
- Glyn Pursglove, Music Web International on Derek Bermel: Voices (BMOP/sound 1008, 2/2009)
"Best CDs of 2009" by WNYC
Derek Bermel: Voices (BMOP/sound 1008, 2/2009)
"Best CDs of 2009" by San Jose Mercury News
Derek Bermel: Voices (BMOP/sound 1008, 2/2009)
“Editor’s Picks” by Emusic.com
Derek Bermel: Voices (BMOP/sound 1008, 2/2009)
"Best CDs of 2009" by The New York Times
Derek Bermel: Voices (BMOP/sound 1008, 11/2009)
“This superb new release…is outstanding…this issue is an outstanding sample of surround sound. The listener is right in the room with the performers in a most natural way. Highly recommended!”
- Classical CD Review on Lukas Foss: The Prairie (BMOP/sound 1007, 11/2008)
“Gil Rose guides it all with a firm hand, and the Boston Modern Orchestra Project does a fine job giving us our first glimpse of an intriguing piece.”
- Mark Sebastian Jordan, Music Web International on Eric Sawyer: Our American Cousin (BMOP/sound 1006, 7/2009)
"2009 Grammy Award Nominee"
Charles Fussell: Wilde (BMOP/sound 1005, 9/2008)
"Gil Rose and his BMOP players make handsome works of both scores."
- Classical CD Review on Charles Fussell: Wilde (BMOP/sound 1005, 9/2008)
“As always, Gil Rose’s group plays beautifully…”
- Allen Gimbel, American Record Guide on Charles Fussell: Wilde (BMOP/sound 1005, 9/2008)
“Gil Rose leads the Boston Modern Orchestra Project in evocative, committed performances. The sound is clean and spacious.”
- Stephen Eddins, Allmusic Guide on Charles Fussell: Wilde (BMOP/sound 1005, 9/2008)
“Best CDs of 2008” by Downbeat Magazine
Gunther Schuller: Journey Into Jazz (BMOP/sound 1004, 6/2008)
“Best Classical CDs” by National Public Radio
Gunther Schuller: Journey Into Jazz (BMOP/sound 1004, 6/2008)
“The vibrant and wholly sympathetic performance conductor Gil Rose elicits from the orchestra displaces any trace of period dust.”
- Steve Futterman, JazzTimes on Gunther Schuller: Journey Into Jazz (BMOP/sound 1004, 6/2008)
“Conductor Gil Rose flashes a cool hand at balancing strict writing with looser solos, shading dynamics and pacing smoothly.”
- Fred Bouchard, Downbeat on Gunther Schuller: Journey Into Jazz (BMOP/sound 1004, 6/2008)
“Best CDs of 2008” by The Boston Globe
Lee Hyla: Lives of the Saints (BMOP/sound 1003, 5/2008)
“CD Pick of the Week.”
- Brian Wise, WNYC on Michael Gandolfi: Y2K Compliant (BMOP/sound 1002, 4/2009)
“In sum, an unmissable release.”
- Phillip Scott, Fanfare on Michael Gandolfi: Y2K Compliant (BMOP/sound 1002, 4/2009)
“…these exuberant and expressive performances provide yet another instance of conductor Gil Rose’s technical command and superb musicianship.”
- Andrew Farach-Colton, Gramophone on Michael Gandolfi: Y2K Compliant (BMOP/sound 1002, 4/2009)
“Best CDs of 2008” by The New York Times
Michael Gandolfi: Y2K Compliant (BMOP/sound 1002, 4/2008)
“The three scores included here—all played with warmth and precision, and beautifully recorded on the Boston Modern Orchestra Project’s own label—offer a good overview of Mr. Gandolfi’s sensibility.”
- Allan Kozinn, The New York Times on Michael Gandolfi: Y2K Compliant (BMOP/sound 1002, 4/2008)
“The Boston Modern Orchestra Project is currently one of the world’s great orchestras, recorded here with stunning detail and sensuous sheen. Gil Rose has prepared Harbison’s engrossing score meticulously.”
- Allen Gimbel, American Record Guide on John Harbison: Ulysses (BMOP/sound 1001, 3/2008)
“Together with Richard Dyer’s full and incisive annotation, and most important, the Boston Modern Orchestra Project’s absolutely stunning, all encompassing ultra-realistic sound ambience, we have here one of the outstanding releases of contemporary American music of the decade.”
- Paul A. Snook, Fanfare on John Harbison: Ulysses (BMOP/sound 1001, 3/2008)
“The music couldn't possibly have better advocates than the Boston Modern Orchestra Project and its conductor Gil Rose. The detail, emotional sweep and carefully judged dynamics that Maestro Rose brings to this score are exceptional.”
- Bob McQuiston, Classical Lost and Found on John Harbison: Ulysses (BMOP/sound 1001, 3/2008)
“Top 10 Classical 2006.”
- Peter Burwasser, Philadelphia City Paperon Evan Ziporyn’s Frog’s Eye (Cantaloupe Music CA21040, 10/2006)
"Masterful and clean accompaniment by the Boston Modern Orchestra Project under the baton of Gil Rose."
— Sequenza21 on Stephen Paulus’ The Five Senses (Arsis 153, 12/2005)
"Gil Rose and the Boston Modern Orchestra Project do the composer proud, realizing the vast range of expression inherent in the music … firmly recommended."
— John Story, Fanfare on Bernard Rands' Canti Trilogy (Arsis 156, 5/2005)
"Gil Rose commands the ensemble with finesse and precision."
— Macdonald, American Record Guide on Reza Vali's Flute Concerto (Naxos 8-557224, 2/2004)
"Composer Arthur Berger died in October at 91, and this beautiful recording of his complete orchestral music makes a fitting testimonial."
— Anthony Tommasini, The New York Times on Arthur Berger’s Complete Orchestral Works (New World 80605-2, 12/2003)
"The Year's Best Classical Recordings: Honorable Mention. The complete orchestra works of Arthur Berger, played by the Boston Modern Orchestra Project under Gil Rose (New World)."
— John von Rhein, Chicago Tribune on Arthur Berger's Complete Orchestral Works (New World 80605-2, 12/2003)
"...conductor Gil Rose must take much of the credit, of course. He is clearly the master of the score. He keeps the drama moving, not allowing any unnecessary indulgence and his conducting has a fine dramatic thrust to it. Equally, he makes the most of the many lyrical, poetic passages."
— John Quinn, Classical Music Web on Samuel Barber’s Vanessa (Naxos 8669140, 11/2003)
"Conductor Gil Rose wrings an exciting orchestral performance out of the National Symphony Orchestra of Ukraine."
— Richard Dyer, The Boston Globe on Samuel Barber’s Vanessa (Naxos 8669140, 11/2003)
"Gil Rose leads the excellent National Symphony Orchestra of Ukraine with a sure hand and an appropriately roughshod bonhomie..."
— Daniel Felsenfeld, Time Out New York on Samuel Barber’s Vanessa (Naxos 8669140, 11/2003)
"If there were a classical music man of the month, November would surely belong to conductor Gil Rose... The performance is bursting with life, in large part thanks to Gil Rose's passionate leadership of the National Symphony Orchestra of Ukraine."
— T.J. Medrek, The Boston Herald on Samuel Barber’s Vanessa (Naxos 8669140, 11/2003)
"Conductor Gil Rose leads a taut performance..."
— Robert Levine, Classics Today on Samuel Barber’s Vanessa (Naxos 8669140, 11/2003)
"Gil Rose sets fluid, broad tempos, and the National Symphony of the Ukraine makes a fine sound."
— David Perkins, The North Carolina News Observer on Samuel Barber’s Vanessa (Naxos 8669140, 11/2003)
"Conductor Gil Rose leads the Boston Modern Orchestra Project with panache and discernable enthusiasm."
— Victor Carr Jr., Classics Today on Lucas Foss’ Griffelkin (Chandos 10067, 5/2003)
"Gil Rose keeps the performance zinging along, singing a song, as merry as can be. The opera is a triumph, and so is the recording!"
— Charles H. Parsons, American Record Guide on Lucas Foss’ Griffelkin (Chandos 10067, 5/2003)
"The Boston Modern Orchestra Project delivers stirring and virtuosic performances under Gil Rose."
— Victor Carr Jr., Classics Today on George Rochberg’s Black Sounds (Naxos 8.559120, 10/2002)