Gianandrea Noseda conducts a new Adriana Lecouvreur at the MET

«That these performances made “Adriana” seem more musically substantial than usual was also thanks to the insightful conducting of Gianandrea Noseda. Cilea emerged during a period in Italian opera, dominated by Puccini, when the public could not get enough of hot-blooded, verismo (essentially true to life) music dramas. When it comes to harmonic daring and subtle manipulations of melodic motifs, Cilea was no Puccini. But without pumping up or milking the music in any way, Mr. Noseda led a vigorous, exacting and pulsing performance, drawing out inner details and lending lightness, with a mordant touch, to the many scenes of backstage bustle and frivolity at the company where Adriana is a star.»
The New York Times, Anthony Tommasini

«The new David McVicar production that opened at the Metropolitan Opera on New Year’s Eve took that legacy seriously and then some: It boasted a stellar quartet of principal singers, a sensitive conductor, and a staging that tried valiantly to infuse the creaky plot with some depth. (…) In the pit, Gianandrea Noseda led a flowing, expressive performance, with the solo violin and harp that accompany the lovers rising ethereally from the orchestration’s alluring, multi-hued texture.»
The Wall Street Journal, Heidi Waleson

«Francesco Cilea’s melodious score, which evokes the 18th century in its own personal way, benefits from a first-rate presence on the podium, Gianandrea Noseda, who conducts as if he truly believes in the work. Sometimes described as sub-Puccini, the opera has understandably seen its reputation rise in recent years. Witnessing a performance of it as good as this is something quite special.»
Financial Times, George Loomis

«Underpinning the evening’s musical strength was Gianandrea Noseda, the music director of the National Symphony Orchestra, who continues to burnish his stature as a darling of the international music world. “Adriana” is a walk in the park for Noseda, who is a veteran opera conductor, a native Italian and an old friend and colleague of Netrebko, since they both got their professional starts at the Mariinsky Theater in St. Petersburg, where he was for 10 years principal guest conductor. Still, he had his hands full keeping her and the rest of the robust ensemble in line with a score that is often intensely busy while remaining centered around a couple of strong themes — the “I am a servant to my art” theme, the “we are SO in love” theme — that keep announcing themselves with soap-opera-like dependability at the emotional high points.»
The Washington Post, Anne Midgette

«The other major artistic benefactor here was conductor Gianandrea Noseda, who shaped the score in ways that even made the opera’s problematically quiet Act IV ending feel extremely effective.»
Classical Voice North America, David Patrick Stearns

«Gianandrea Noseda conducted with characteristic intelligence.»
The Newyorker, Alex Ross