Photo by Gerard Collett

F E A T U R E D   P R E S S
'The La Monnaie orchestra presents itself in its best light under the precise, attentive and lively direction of Ben Glassberg' - Patrice Liberman, Bachtrack

'This was Ben Glassberg's first outing as the music director of the Glyndebourne Tour and a better statement of intent would be hard to they fizzed with energy as the young conductor fused the music's blend of comedy and emotion...Glassberg's debut outing with the Glyndeborne Tour Orchestra shone' - Mark Valencia, Opera Magazine

'Rising star conductor Ben Glassberg doesn't miss a trick in presenting Derek J Clark's astute reduction of Humperdinck's score' -  George Hall, The Stage

'If there's a reason to see this revival, it's for conductor Ben Glassberg, who drew out a truly glorious performance from the ENO Orchestra. He's a natural fit for this repertoire, with just the right amount of rubato to avoid sounding sentimental. I've rarely heard the orchestra sound this luxuriant, undoubtedly helped by the fact that the lead couple could sail over the deceptively heavy orchestration with ease. Let's hope ENO brings him back' - Kevin Ng, Bachtrack

'In the pit, GoT’s music director Ben Glassberg propels the score forward with great intensity and attention to detail' - Tim Ashley, The Guardian

'But the biggest cheer deservedly went to the orchestra and its conductor Ben Glassberg, in whose hands this huge-hearted score bounded to life, roaring and soaring' - Jessica Duchen, iNews

'The musical performance is impressive. Indeed under the baton of Glyndebourne Tour’s music director, Ben Glassberg, it sounds more viscerally theatrical and he manages to reignite the drama [...] He gets terrific playing from the Glyndebourne Tour Orchestra and coaxes the fine young cast to surpass themselves in Beethoven’s demanding music' - Hugh Canning, The Times

'The other major factor is the revelatory conducting of Ben Glassberg and the response he got from the ENO Orchestra. Glassberg allowed the music to settle and thrive and made Puccini’s brilliantly organised score tell the story like reading a book. The sounds he drew for the opening to Rodolfo’s ‘O soave fanciulla’ – all depth and glow – was just one instance of having the illusion of hearing the opera for the first time' - Peter Reed, Classical Source

'One of the most impressive aspects was Ben Glassberg’s conducting, which revelled in Puccini’s Wagnerisms, memories of Tristan evoked quite magically in the first act, without taking for something they were not. The sounds extracted from the ENO Orchestra were often magnificent: a great dynamic range, from moments of hushed intimacy, to grand, declamatory gesture. But it was Glassberg’s pacing and his reconciliation of vocal and orchestral demands that marked this out most strongly' - Mark Berry, Opera Today


photo by Sim Canetty-Clarke