BMOP and Odyssey Opera


"Once again Boston audiences are indebted to the questing imagination of Gil Rose.” —Steven Ledbetter, The Boston Musical Intelligencer on Pacini’s Maria, Regina d’Inghilterra, November 2019

“Gil Rose leading the Odyssey Opera Chorus and Orchestra, it was one for the history books.”
—The South Shore Critic on Saint-Saën’s Henry VIII, September 2019

“Gil Rose appeared in total control of his sizeable performing forces and provided some thrilling orchestral climax’s.”
—Ed Tapper, Edge Medias Network on Strauss’s Die Aegyptische Helena, April 2019

“Gil Rose led the small but energetic orchestra with aplomb and accustomed self-assurance, once again Rose has given energy and elan to a hidden gem of the operatic canon.”
—John W. Erlich, American Record Guide on Gluck’s Paride ed Elena, February 2019

“And of course, it should almost go without saying that Maestro Rose once again pulled a performance out of his orchestra that perfectly encapsulated the spirit of fun that surrounds the work.”
—Arturo Fernandez, Schmopera on Gounod’s Le Médecin Malgre Lui, November, 2018

“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 Dimitrij represents 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,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