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  Conductors: Martin André - Reviews
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The Merry Widow‚ Opera North
BachTrack.com (October 2018)


'Conductor Martin André was sensitive to the more subtle sections of the orchestration‚ and naturally the waltzes got the full treatment.
Lehár’s rich orchestral palette is lifted from the pages of the score by the Orchestra of Opera North and Martin André: unmissable.'

The Merry Widow‚ Opera North
Newcastle Chronicle (October 2018)


'Conductor Martin André deserved the rapturous applause at the end.'

The Merry Widow‚ Opera North
The Spectator (October 2018)


'Martin André conducted the Opera North orchestra with such colour and schwung that it practically became a character in its own right.'

The Merry Widow‚ Opera North
Yorkshire Times (October 2018)


'The orchestra of Opera North is on top form under Martin André‚ producing a gorgeous swell of sound and doing full justice to Lehár’s superb orchestration.'

Osud‚ Opera North
Manchester Evening News (November 2017)


'Both operas (L’enfant and Osud) are supported with faultless performances by Opera North’s orchestra - in each case led by Martin André‚ a veteran conductor and noted Janacek specialist.'

Osud‚ Opera North
Planet Hugill (November 2017)


'The music is stunning and the orchestra of Opera North and Martin André gave it real heart.'

Osud‚ Opera North
Seen & Heard International (November 2017)


'Martin André made a masterful contribution to the matching of these 2 diverse works.'

Osud‚ Opera North
The Guardian (November 2017)


'Martin André‚ conducting‚ and the large ensemble cast and Opera North orchestra put the strongest case for this irresistible oddity. Osud: a score of glorious amplitude to a libretto (the composer’s own) of chaotic opacity. This 3 act work makes essential listening.'

Osud‚ Opera North
The Telegraph (November 2017)


'Martin André’s conducting captures all the music’s nervous energy.'

Osud‚ Opera North
The Times (November 2017)


'Superb choruses and punchy energised orchestral playing under Martin André
'

L’enfant et les sortilèges‚ Opera North
Planet Hugill (October 2017)


'Martin André and the orchestra contributed the colours and sophistication of the score to make up the whole.'

L’enfant et les sortilèges‚ Opera North
The Arts Desk (October 2017)


'Musically it was enchanting to hear‚ the Orchestra of Opera North creating a whimsical soundworld under André.'

L’enfant et les sortilèges‚ Opera North
The Guardian (October 2017)


'Conductor Martin André brings the score beautifully to life.'

L’enfant et les sortilèges‚ Opera North
The Spectator (October 2017)


'Martin André conducted with the gusto that is often lacking when people tackle this piece‚ and he brought the work to a close that was both charming and moving.'

L’enfant et les sortilèges‚ Opera North
The Telegraph (October 2017)


'The orchestra under Martin André provides washes of beautifully vivid colour‚ and the singers plainly enjoyed the romp as much as the audience.'

L’enfant et les sortilèges‚ Opera North
York Press (October 2017)


'Martin André’s conducting is crucial to its success.'

Der Zwerg‚ Teatro Sao Carlos‚ Lisbon
DIÁRIO DE NOTÍCIAS (April 2017)


'But the star of the evening is the music and the orchestration by Zemlinsky: excellent work from Orquestra Sinfonica Portuguesesa and Martin André.'

Bangkok Symphony Ballet Spectacular
Bangkok Post (September 2016)


'The Bangkok Symphony Orchestra itself played superbly‚ the versatility for which it is known shining through in a programme of 14 very distinct items -- ranging from Mozart’s transparently textured Seraglio Overture to Mascagni’s charged‚ impassioned outbursts in the Intermezzo from his verismo opera L’amico Fritz. English maestro Martin André steered the players expertly through a demanding evening‚ involving the very careful pacing of vastly contrasting tempi in order to coordinate precisely with the choreography on stage.'

RCM with English concert in Gloucester Cathedral
Seen & Heard International (July 2016)


'(Vaughan Williams)...Right from the magically hushed opening chords I dared to hope that we were in for a special performance and I was not disappointed. Martin André paced and balanced the music with great understanding. Tonight’s performance was an experience that I would not have missed for anything.
(Howells Cello Concerto) Guy Johnston was a fine advocate for the concerto and received excellent support form Martin André and the orchestra.'

RCM with English concert in Gloucester Cathedral
The Telegraph (July 2016)


'Fantasia on a Theme of Thomas Tallis by Vaughan Williams‚ eased ever so gently into life by the RCMSO Strings under Martin André‚ seemed to breathe from the very stones and arches of Gloucester Cathedral (the same venue as the world premiere in 1910).'

RCM with English concert in Gloucester Cathedral
The Times (July 2016)


'...all immaculately played by the RCMSO under its conductor Martin André.'

Iphigénie en Tauride‚ English Touring Opera
Classical Source (March 2016)


'Martin André has Gluck’s seamless flow between recitative and aria at his fingertips‚ underpinned by an unflagging sense of pace and spaciousness.'

Iphigénie en Tauride‚ English Touring Opera
Mark Ronan Theatre Reviews (March 2016)


'All ably conducted by Martin André‚ bringing clarity to this marvellous opera that lies beyonf the baroque tradition.'

Iphigénie en Tauride‚ English Touring Opera
Planet Hugill (March 2016)


'Martin André and the orchestra impressed with the sense of style and contained passion that they brought to the music. Some stylish "Historically Informed Peformance" elements merging with playing of real strength.'

Iphigénie en Tauride‚ English Touring Opera
The Stage (March 2016)


'It’s often considered Gluck’s masterpiece‚ and the dramtically engaged conducting of Martin André plus the committed playing of ETO´s substantial orchestra make a good case for it.'

Iphigénie en Tauride‚ English Touring Opera
The Telegraph (March 2016)


'Martin André’s conducting is robustly virile: its honesty and energy are admirable.'

Iphigénie en Tauride‚ English Touring Opera
What’s on Stage (March 2016)


'Martin André conducts an elegant yet taut account that allows well-defined characterisations to emerge.'

Iphigénie en Tauride‚ English Touring Opera
The Guardian (January 2016)


'Musically it is terrific: Martin André conducts with fierce passion throughout. It is a remarkable piece of music theatre that arouses pity and terror - as classical tragedy always should.'

L’amico Fritz‚ Den Jyske Opera
Arhus Herald-Tribune (November 2015)


'...evocative moments‚ both dramtic and melodic‚ both juicy and poetic‚ filled the auditorium from the orchestra‚ which had a fine premiere in Odense with Martin André'

L’amico Fritz‚ Den Jyske Opera
Dagblad (November 2015)


'Just like last season with Lucia‚ Martin André got expressive playing from the Copenhagen Philharmonic.'

L’amico Fritz‚ Den Jyske Opera
Funen Herald-Tribune (November 2015)


'Under Martin André’s direction‚ the Odense Symfoniorkest shaped all the nuances and shades of Mascagni’s score.'

L’amico Fritz‚ Den Jyske Opera
Kristeligt Dagblad (November 2015)


'...one could also enjoy how Martin André got the Odense Symfoniorkest to sound soulful for long periods.'

L’amico Fritz‚ Den Jyske Opera
Kultur (November 2015)


'the cast of singers are on happy melodic ground‚ eminently directed by Martin André.'

Lucia‚ Den Jyske Opera
AOA Guide (March 2014)


'Musically the performance is excellent: Conductor Martin André shapes the orchestral playing sensitively; he has a great sense of the bel canto style‚ and good contact and rappore with the singers on stage.'

Lucia‚ Den Jyske Opera
Flensborg Avis (March 2014)


'Musically this was a great pleasure‚ since conductor Martin André and South Jutland Symphony Orchestra played Donizetti’s delicious notes to a very high standard.'

Lucia‚ Den Jyske Opera
Fyens Stiftstidende (March 2014)


'Under the expert guidance of Martin André‚ the Odense Symfoniorkster porved once again that they have become a fine opera orchestra.'

Lucia‚ Den Jyske Opera
Kristeligt Dagblad (March 2014)


'The Aarhus Symfoniorkster played securely and beautifully. The sound of the orchestra was homogenous and accomplished under the riveting diretion of Martin André‚ under whom they played very convincingly.'

Hansel und Gretel‚ Garsington Opera
Classical Source (July 2013)


'The orchestral sound had plenty of colour and character‚ expertly brought out by Martin André.'

Hansel und Gretel‚ Garsington Opera
musicalcriticism.com (July 2013)


'The Garsington Orchestra was in the dependable hands of Martin André‚ who paced the score nicely‚ gave the players and singers room to breathe‚ and presided over a genial reading of this rewarding music. So we go from the evocative horn calls that start the evening (beautifully played)‚ through the Wagnerian witches ride‚ to the beautiful and deceptively simple harmonies of the childrens’ evening prayer and the fourteen angels who are to guard over them. André proved to be alive to all these changing moods and textures‚ and shaped the melodic contours of this lovely opera with skill and sensitivity‚ helped by some fine playing‚ especially in the luminescent quieter passages. A word too for the skilful orchestral elision that allowed Acts One and Two to be played without a break - as with so much in this always interesting production‚ it felt entirely natural‚ and the onward narrative flow was enhanced.'

Hansel und Gretel‚ Garsington Opera
MusicOMH (July 2013)


'Martin André brought his vast experience to the pit‚ and the superb Garsington Orchestra played Humperdinck’s inspiring‚ poetic music with exactly the right combination of romantic sweep and brooding menace. A wonderful evening.'

Hansel und Gretel‚ Garsington Opera
Opera Today (July 2013)


'In the pit‚ Martin André drew warm and sophisticated playing from the Garsington Opera Orchestra. The opera is quite heavily scored‚ after all Humperdinck was a disciple of Wagner’s‚ but André ensured that the balance always worked well and that the singers were well supported but never had to struggle to dominate the orchestra. It is easy to dismiss Hänsel und Gretel as kitsch fun‚ but clearly André and Fuchs (stage director) took the opera seriously and drew very strong performances from the cast.'

Hansel und Gretel‚ Garsington Opera
The Guardian (July 2013)


'Garsington’s orchestra…the sheer character of the wind playing and the sweep of the strings. Conductor Martin André keeps up the pace‚ allowing the score to dance along‚ and the final chorus of rescue kids is simply terrific.'

Hansel und Gretel‚ Garsington Opera
The Independent (July 2013)


'... but rather than suggesting menace‚ this surreality colludes with the beauty emanating from the pit (under Martin André’s direction) to create an atmosphere of serene contentment.'

Hansel und Gretel‚ Garsington Opera
The Oxford Times (July 2013)


'Martin André’s conducting exactly complements the action in this refreshingly unschmaltzy production.'

Hansel und Gretel‚ Garsington Opera
The Stage (July 2013)


'The magical score is well served by the chamber-sized Garsington orchestra and conductor Martin Andre’s well-paced direction‚ helped by the acoustic of the splendid Wormsley pavilion‚ clearer than many opera houses.'

Mister Broucek‚ Scottish Opera
The Herald (April 2010)


'If you never see another Janácek opera see this one. Conductor Martin André is in his element with the blazing music. Superb lighting and production: a stunning night.'