U.S. Critical Acclaim for Gianandrea Noseda

[It] was the conductor Gianandrea Noseda's overwhelming account of Britten's visionary "War Requiem" with the London Symphony Orchestra and Chorus, the soprano Sabina Cvilak, the tenor Ian Bostridge and the baritone Simon Keenlyside that caught me off guard.

—Anthony Tommasini, The New York Times, December 2011

Noseda marshaled the finest “War Requiem” that I have heard. He showed total control of Britten’s vast structure: the balancing of full orchestra against chamber ensemble; the tricky liederlike entrances of the vocal soloists…the staggering floods of sound in the Dies Irae and Libera Me. The performance was also an acutely expressive rendition of a piece that is too often handled as a technical tour de force. The whispering, frightened timbre of the chorus in the first bars signaled that this account would go deeper.

—Alex Ross, The New Yorker, November 2011

International Acclaim for Gianandrea Noseda

But it was Sunday’s performance of the War Requiem that made the biggest impact…And Gianandrea Noseda’s unashamedly dramatic interpretation held the audience transfixed. It was all so vivid: the opening choral whispers like the echoes of dead souls; the tolling bells and ominous fanfares; and the slow crescendo of mourning murmurs in the final moments — an overwhelming evocation of the grief, the waste and the pity of war. Noseda and Znaider are very much the coming men. The LSO should woo them both assiduously. Five Stars.

—Richard Morrison, The Times (UK), November 2011

International Critical Acclaim for Gianandrea Noseda and the Teatro Regio Torino

The Teatro Regio [Torino] appears to be dealing with the current austerity better than most Italian opera houses, perhaps because it is the only one with an Italian conductor of international stature as music director. Gianandrea Noseda leads an impassioned, thoroughly convincing account of [I Vespri Siciliani].

—George Loomis, The International Herald Tribune, March 2011 [La Scala] is not alone, however, in its renaissance. In nearby Piedmont, the similarly historic Teatro Regio [Torino], where La bohème was premiered in 1896 in the old theatre, is marching forward impressively. One reason for this upturn is the astute appointment of Gianandrea Noseda as music director in 2007. With a track record embracing the Mariinsky, St Petersburg and the Metropolitan Opera, New York, as well as Manchester's BBC Philharmonic and, recently, the LSO and Orchestra of the Age of Enlightenment, Noseda's career is in fast ascent. Turin is recognised as a well-run, professional outfit, but now it is raising its artistic game. Opera's honchos, among them the Met's head Peter Gelb, are taking note. —Fiona Maddocks, The Observer (UK), December 2011