Selected Reviews – Peter Mark, Conductor
Virginia's Potent 'Die Walkure': Reaching for the Golden 'Ring'
THE WASHINGTON POST, by Tim Page
October 10, 2002
“... what impressed me most about the performance I saw here Sunday afternoon was the compelling argument Virginia Opera made for Wagner as a master dramatist.”
“… Virginia Opera conductor and artistic director Peter Mark ... summoned ... glistening playing from the first-desk musicians, showed a remarkable command of the score's architecture throughout the performance, and was rightly cheered to the rafters at the conclusion of the long afternoon.”
CAST PULLS OFF POWERFUL ``ANDREA CHENIER''
THE VIRGINIAN-PILOT, by Paul Sayegh
January 26, 2003
“[Peter] Mark seemed to revel in Giordano’s colorful orchestration and sweeping melodies, eliciting an accomplished performance from the orchestra ... ”
ROMANTIC “CHENIER” IS A WORTHY EFFORT
DAILY PRESS - by David Nicholson
January 28, 2003
“Peter Mark deftly conducted the orchestra and brought out the swirling musical passions that pulse through this piece.”
BUTTERFLY: "FAMILIARLY FINE"
The Washington Post, by Joseph McLellan
October 27, 2003
“The musicians’ playing, under conductor Peter Mark, was sensitive to Puccini’s expert orchestration: dreamy at romantic moments, crisp and vigorously accented at points of high drama.”
“RIGOLETTO” WARMS THE SOUL
DAILY PRESS, by David Nicholson
February 1, 2004
“Just in time to shake up the winter doldrums, Virginia Opera has mounted a sexy new production of Verdi’s RIGOLETTO. Conductor Peter Mark led a spirited reading of the score, and the players responded with a buoyant, sparkling performance.”
“FIDELIO” PRODUCTION A MUSICAL TRIUMPH
RICHMOND TIMES-DISPATCH, by Clarke Bustard
March 27, 2004
“The Virginia Opera’s production of Beethoven’s FIDELIO is the most soulful and fulfilling treatment of a music drama it has staged in years. Peter Mark leads a cast of singers, from leading voices to choristers, and the orchestra musicians in throwing themselves into the spirit of the work, performing as if life and liberty were literally at stake.”
TURANDOT 2004 - VIRGINIA OPERA
THE WASHINGTON POST - CLASSICAL MUSIC, by Joseph McLellan
October 18, 2004
“The Virginia Opera came to George Mason University on Friday with the best production of Puccini's final opera, "Turandot," that I have ever attended, a "Turandot" that any American opera company would be proud to call its own. Its excellence was pervasive ... ”
“Peter Mark's conducting brought out the music's exotic color, rhythmic vitality and overall formal cohesion.”
Soundings: Virginia Opera succeeds with 'Tristan and Isolde'
The Virginia Gazette, by John Shulson
February 3, 2005
”The highest thrill point of "Tristan" came with the orchestra. Under Peter Mark's baton, it performed brilliantly. The sounds were strong, lush, convincing, commanding, and overwhelmingly passionate. The musicians have never sounded as cohesive and as simpatico to the demands of the score as in this performance. Mark hit the mark totally in this most total and poetic-dramatic of renderings. It just couldn't have been finer musically and helped make "Tristan" a success on anyone's level.”
TOSCA 2005 – SHANGHAI OPERA– OPENING THE ORIENTAL ARTS CENTER OPERA HOUSE OF SHANGHAI
SHANGHAI OPERA MAGAZINE – August 2005, No. 123 pages 5-7
("China's most authoritative magazine on the art of opera")
TOSCA Review, by Jing Zuoren (famous Chinese music critic)
“Perfect pairing results in brilliant collaboration –
Chinese American artists pour their heart and soul into performing TOSCA in Shanghai
[Peter Mark’s] commanding presence and clear control of the musical nuance and dramatic organization were masterfully presented, and his natural cooperation with the cast brought out the overall formal cohesion for the opera ... ”
FAMILIAR VERDI OPERA PULSES WITH THE STRENGTH OF DRAMA
The Virginian-Pilot, by Lee Teply
October 2, 2005
“Conductor Peter Mark was in complete sympathy, getting power from the chorus while allowing solo singers unusual flexibility.”
Virginia Opera’s Sparkling “Traviata”
INFODAD.COM, by Mark Estren
October 16, 2005
“Peter Mark knows this music inside out and could practically conduct it in his sleep – but his careful tempo choices and fine ear for orchestral balance make the score ever-new.”
At George Mason, a 'Traviata' With the Score Front and Center
The Washington Post, by Grace Jean
Monday, October 17, 2005 - Page C09
“Seldom do you encounter a production in which the stage action meshes so seamlessly with the music …”
“With Artistic Director Peter Mark at the helm of the orchestra, Verdi's score took its place onstage as though it were a character. At times it functioned as the narrator, but more often a loving duet partner. The orchestra excelled at the dual roles, as it played with authoritative drama and supportive warmth.”
Opera on the Mark
The Virginia Gazette, by John Shulson
November 26, 2005
“Mark was on the mark with the score, bringing to it insight and drama that added to the poignancy of the tale, with the orchestra rendering passionate and dramatic returns.”
Virginia Opera's 'Romeo and Juliet' to Die For
The Washington Post, by Cecelia Porter
December 5, 2005
“Conductor and Artistic Director Peter Mark maintained uninterrupted momentum and excitement, winning instantaneous responses from singers, dancers and orchestra alike.”
REVIEWS FROM THIS CURRENT SEASON 2006-2007
By B.J. Atkinson
Tuesday, Oct. 10, 2006
Port Folio Weekly
“The Virginia Opera Orchestra, under the baton of Maestro Peter Mark, started the evening with a sensitive, energized performance of the beloved Carmen overture, and remained faithful to Bizet's orchestral and dramatic genius throughout the evening.”
“Virginia Opera season opens with 'Carmen'”
By John Shulson
October 4, 2006
The Virginia Gazette
“Mark led the orchestra with flair, bringing to the rich score insight and intensity, lyricism and drama, all requisite qualities for a work with so many exquisite musical moments. The orchestra responded in kind with a first-rate performance which, added to the fine singing, made this "Carmen" a satisfying and noteworthy season opener.”
Straightforward approach works in balanced ‘Carmen’
BY PAUL SAYEGH, CORRESPONDENT
The Virginian-Pilot
October 1, 2006
“Conductor Peter Mark took a similar approach. Leading the excellent Virginia Symphony Orchestra musicians, Mark conducted a performance free of eccentricities of tempo or dynamics. The opera seemed to unfold naturally, with the cues coming from what was happening on stage. At the same time, Mark got his players to bring out many of the beautiful orchestral details that add to the musical appeal of the drama.“
From the Virginia Opera, A Spellbinding 'Carmen'
By Mark J. Estren
Special to The Washington Post
Monday, October 16, 2006; C05
“Just when you think there can't possibly be anything new to see or hear in
‘Carmen,’ along comes Virginia Opera with a sparkling production that is equal parts glitter and nuance.”
“Artistic Director Peter Mark conducted with his usual sensitivity to pacing: very quick in fast passages, nicely stretched out in emotive ones.”
“Like Carmen's sorcerous rose, Virginia Opera's bewitching production was spellbinding.”
Opera review: 'Agrippina' receives comic touch that's just right
THE VIRGINIAN-PILOT
By LEE TEPLY, Correspondent
January 28, 2007
“It is a given that the Virginia Opera can produce high-quality performances of the standard repertoire. At the Harrison Opera House on Friday evening, it demonstrated – for the second time this season – that it is equally successful with less-familiar operas.”
GO FOR BAROQUE
VO’s Agrippina is that rare thing: hilarious beauty
By M.D. Ridge
Port Folio Weekly
Tuesday, Feb. 6, 2007
“Spectacular voice after spectacular voice blazed across the Harrison Opera House stage in Virginia Opera’s production of Handel’s Agrippina, brilliantly directed by Lillian Groag.”
“In Groag’s inventive hands, with a luminous cast and Peter Mark’s crisp conducting, Agrippina became a rare marriage of beauty and hilarity, of extraordinary singing and slapstick comedy, of breathtaking art and bedroom farce.”
“An ensemble cast of such quality is usually only found at grand galas…..”
“The lithe baroque orchestra played with simplicity and intensity, with Laura Friesen’s harpsichord brisk or plaintive as needed. The recorders brought superb musicianship to the period sound. Like the singers’ stylish ensemble work, the players heightened every affect under Mark’s intelligent baton.”
The Virginia Gazette review of AGRIPPINA
By John Shulson
Virginia Gazette
Feb. 3, 2007
“The Virginia Opera pulled out all the stops in its Virginia premiere of Handel's delightful ‘Agrippina.’"
“Peter Mark conducts the 20-person ensemble with energy, conviction, and a sense of collaboration that makes ‘Agrippina’ a must-see performance and event.”
OperaOnline Review
February 11, 2007
By Joseph Giannino
OperaOnline.us
“Sunday afternoon’s performance of ‘Agrippina,’ was the most fun I had at the opera since Rossini’s ‘An Italian in Algiers’ by the Washington National Opera, and that’s a tough act to beat. This opera was wonderful and, in typical Handel fashion, the music was beautiful and captivating.
“There were many reasons this opera was so enjoyable. First, the cast was outstanding. This cast sounded beautiful and didn’t seem at all taxed by the long work (3 ½ hours).”
“Conductor Peter Mark once again gave us a wonderful sounding orchestra and plenty to listen to throughout the afternoon. He always sits high in the pit and you can watch his movements, something I enjoy. He is dynamic and always in control of both the musicians and singers, giving us a well paced performance.”
AllArtsReview4U review of “Agrippina”
Bob Anthony
Feb. 11, 2007
“The production of ‘Agrippina’ by the Virginia Opera at the George Mason U. Center for the Arts was a total ‘blockbuster’. It was, by far, the most satisfying opera I and the Sunday audience has watched and listened to in many a year of first rate operas at this local venue. The applause at the end was deafening.”
“Conductor Peter Mark again was ‘right on the mark’ and he beautifully balanced the necessary harpsichord (played by Laura Friesen) with the rest of his fine orchestra.”
“Every dollar of support to this fine company is money well spent and all Virginians should be especially proud of the excellent work that they do.”
A Pistol-Packing Mama Highlighted Virginia Opera's Modern Take on Handel's Agrippina
William T. Walker
Classical Voice of North Carolina
February 2007
“A large audience in the Landmark Theater found a number of surprises in the last performance of Virginia Opera's tour of the state's premiere of George Frederic Handel's Agrippina.”
“There was not a single weakness in Virginia Opera's fine cast of young singer-actors.”
“Music Director Peter Mark led a small chamber orchestra formed by members of the Virginia Symphony in a vivacious and stylish performance of Handel's colorful and imaginative score. The effective continuo for recitatives consisted of cellist Janet Kriner and harpsichordist Laura Friesen, whose instrument was discretely amplified. The trumpets and timpani were brilliant, and the numerous solos for oboes were an endless delight.”
“This Virginia Opera production was a complete success from every point of view. I regret missing their earlier Handelian ventures, Julius Caesar (1997) and Rodelinda (2000). Would it be possible to venture on to Tamerlano, Serse, Ariodante, Orlando, and his secular oratorio Semele in future seasons?”
Opera twins well-served by heart and smarts
Virginian Pilot
By PAUL SAYEGH, Correspondent
March 11, 2007
“Powerhouse singing and intelligent direction marked the Virginia Opera's productions of the perennial Italian opera twins, Pietro Mascagni's ‘Cavalleria Rusticana’ and Ruggiero Leoncavallo's ‘Pagliacci.’”
“Conductor Peter Mark led orchestral performances that were robust and potent.”
Review of "Cavalleria Rusticana / I Pagliacci"
"I found the opening night an absolutely joyous feast!"
By Edgar Loessin
March 10, 2007
WHRO-FM
“There is a stellar cast, a perfect cast in fact.. Jane Dutton, Santuzza, fresh from the Metropolitan Opera, is a vibrant mezzo-soprano with a voice of many colors and shadings. It's a thrilling performance as she vocally soars above the large chorus and orchestra seemingly without effort. The philandering Turiddu, as sung and superbly acted by Gustavo Lopez Manzitti, is a lusty, handsome fellow, with a dark side, who probably looks in the mirror a lot. Lopez Manzitti has a full bodied rich tenor that fills the hall with glorious sound.”
“Peter Mark guides the orchestra with a keen sense of the highly theatrical qualities that define the music of these two works.”
One of These Things Is Not Like The Other
By B.J.Atkinson
Port Folio Weekly
Tuesday, Mar. 20, 2007
“With the Richmond Symphony in the pit, Maestro Peter Mark led with authority, sensitivity and obvious love for the music.”
Virginia Opera: Verismo Double Bill of Cav and Pag Packs a Wallop
by William Thomas Walker
Classical Voice of North Carolina
March 31, 2007
March 25, 2007 Richmond, VA: “After having been swept up by Virginia Opera's double-bill of the verismo one act opera twins, Cavalleria Rusticanna and I Pagliacci, I can see why most opera houses traditionally have staged them together.“
“Peter Mark directed searing performances using members of the Richmond Symphony Orchestra. There was tight ensemble between the pit and the stage, and the strings, brass, and winds were kept neatly balanced. Mark brought out all the poetry in the famous interludes. Some of the detailed fast playing of the violins in the Mascagni reminded me of the quicksilver writing of Mendelssohn.”
Still Great…
By Mark J. Estren
Special to the Washington Post
Monday, April 2, 2007; C05
“Artistic Director Peter Mark fanned the flames with supple, firmly controlled conducting, cuing singers perfectly and letting instrumental interludes swell and subside beautifully.”
AllArtsReview4U review of “Cavalleria Rusticana / I Pagliacci”
Bob Anthony
April 2, 2007
“The Virginia Opera Company finished their season ablaze with drama and singing talent with their production of ‘Cavalleria Rusticana’ and ‘I Pagliacci.’
“Of course, no one conducts opera as well as Peter Mark...it is a joy to watch his full body energy put into every operatic sequence.”
Peter Mark – Selected Reviews - 1