Rave Reviews from Il Don Giovanni at Lincoln Center
"Operatic New York is now buzzing with the echoes of opera's arrival here 200 years ago...a Don Giovanni like no other heard in our lifetimes, to delirious ovations at Rose Theater will never be forgotten by our grateful players and singers."
Parterre writes:
"Conductor Geoffrey Loff, working from the cembalo in the recitatives but with a baton otherwise, led the historical instrument Teatro Nuovo Ensemble in a forceful, quick on its feet reading of the score which did not lack depth or drama. It wasn’t your grandma’s Don Giovanni but a revelatory and stylishly committed reading of the score…"
Voce di Meche writes:
"But let us get on to the most important issue, that of musical values. Maestro al Cembalo Geoffrey Loff performed his role with enthusiasm and artistry, keeping the performance moving along at a brisk pace whilst giving the singers room to breathe and enjoy their respective fiorature. As is customary with Teatro Nuovo, the musicians are arranged so that they can see each other. Having heard from a few conductors we know that the best place to sit was as close to the conductor as possible, we took the advice and were glad we did. At no time did the orchestra drown out a singer. Well done, Maestro!"
Operawire writes:
"Leading the musical forces was Geoffrey Loff who did a solid job at the podium and behind the continuo. The famed overture had a punchiness to it, particularly in the Allegro section where the low instruments were allowed major preponderance on accents and dissonances, adding tremendous contrast and darkness to this lighter section of the overture. Also notable was the choice to not overextend the lower notes of the opening chords, as is often done in standard performance practice. This choice added to the silence in the space, making the phrases feel more like questions rather than imposing statements, thus creating anticipation and a desire for more."
Operaclick writes:
"Geoffrey Loff directs without a baton, alternating direction with accompaniment to the keyboard…The overture produced a ghostly and mysterious effect, different from any other I had heard before. It almost seems to evoke from the beginning the infernal spirits that, at the end of the work, will punish the dissolute Giovanni."
Musical America writes:
"The company fielded a fine period-instrument orchestra, in Il Don Giovanni led from the cembalo by Geoffrey Loff. The opening D-minor chord, with the band in full cry, got the evening off to a bracing start. Throughout, the ensemble’s amalgamation of forcefulness and transparency offered a powerful argument for Teatro Nuovo’s HIP approach to the piece."
Wall Street Journal writes:
"It was illuminating to hear the period-instrument orchestra—led by Geoffrey Loff, who also played keyboard—with its softer strings and prominent bassoons"
Opera Canada writes:
"Geoffrey Loff, the evening’s direttore al cembalo, led the expert Teatro Nuovo Orchestra with ear-catching pungency and power. One more doubt: could García’s Park Theatre aggregation have played the score so well?"
Classical Voice North America writes:
"Geoffrey Loff and his recitative team, instilled the cast’s vocalism with any number of ornamental flourishes — appoggiaturas, trills, and cadenzas. By and large extremely well performed, it made for an experience at once highly instructive and very enjoyable."
Broadway World writes:
"...with the company in fine form, both vocally and orchestrally…under the skilled baton of Geoffrey Loff…"