Acclaim

August 2, 2024
Gil Rose and his audacious Boston Modern Orchestra Project ensemble have made it: This delightfully spirited release of ballets by John Alden Carpenter is the 100th to emerge on BMOP/sound, the ensemble’s record label. It’s an astonishing achievement, as much for the fund-raising and other administrative work that has been involved in bringing each of the recordings to life as for the artistic courage and technical accomplishment that mark the music-making on them all.

- David Allen, The New York Times on John Alden Carpenter: Complete Ballets, August 2024

August 1, 2024
On "Trouble" members of The Boston Modern Orchestra Project perform music that is refined in its conception, purposeful in its scoring and thoroughly involving as a listening experience. The interaction of instrumentalists animating each piece in these excellent performances communicates a collective dynamic rather than a lone creative voice being granted expression by an orchestra.

- Julian Cowley, The WIRE Magazine on Vijay Iyer's "Trouble", August 2024 Issue

July 29, 2024
Whatever your mood, this album has something for you. And I mean it.

- Steve Johnson, WXXI Radio on Ellen Taaffe Zwilich: Symphony No. 5, July 2024

July 1, 2024
As ever, Gil Rose’s forces proved well prepared and virtuosic.

- David Shengold, OPERA Magazine on POE, July 2024

July 1, 2024
The set rewards on multiple levels: in bookending two concerti with a fanfare-like piece and a symphony, the set offers an encompassing portrait, and the BMOP delivers the material with its customary zeal and fastidious attention to detail.

- Textura on Ellen Taaffe Zwilich: Symphony No. 5, July 2024

June 27, 2024
The collection leaves you leave grateful for the Boston Modern Orchestra Project’s usual confident performances, and wanting to hear more from Iyer the composer.

- David Weininger, The New York Times on Vijay Iyers' Trouble with the BMOP

June 22, 2024
None of this prepared me for the immense effectiveness of Awakenings, an opera that received its first production at Opera Theatre of St. Louis in 2022 and now reaches listeners through a recording (with a few of the same singers and excellent new ones) thanks to the tireless efforts of Odyssey Opera and its imaginative and enterprising founder-conductor Gil Rose.

- Ralph P. Locke, The Arts Fuse on Tobias Picker's Awakenings, June 2024

June 17, 2024
All of the repertoire is played with intense drama and suavity by the Boston Modern Orchestra Project led by Gil Rose, a champion of living composers with a keen ear for texture, balance and dramatic contrast.

- Donald Rosenberg, Gramophone Magazine on Ellen Taffe Zwilch, Symphony No. 5, July 2024

May 30, 2024
Abetted by abundantly talented soloists and the skillful advocacy and playing of BMOP under Rose, this release is highly recommended.

Christian Carey, Sequenza 21 on Nancy Galbraith: Everything Flows, May 2024

May 28, 2024
Rose conducted the entire program with the precise control and vigor that have made his mark with BMOP ever since 1996.

Mark DeVoto, The Boston Musical Intelligencer, May 2024

May 16, 2024
I cannot imagine a stronger case being made for the score than the one here by Gil Rose and the Boston Modern Orchestra Project.

- Nick Barnard, Music Web International on Paul Moravec's The Overlook Hotel: The Suite from "The Shining", May 2024

May 1, 2024
Gil Rose conducts with appropriate energy and variety, and the recorded sound is well managed.

- Donald Vroom, American Record Guide, May/June 2024 Issue

April 24, 2024
Flutist Sarah Brady and violinist Gabriela Diaz are perfection in their showcase works, while Gil Rose skillfully leads the Boston Modern Orchestra Project throughout.

- Kevin Flipski, The Flip Side on Ellen Taaffe Zwilich—Symphony No. 5 and Orchestral Works, April 2024

April 22, 2024
Moravec's music is performed splendidly by the BMOP and Rose, and once again the company has done the composer and the listening audience a great service in making such material physically available and in such fine form. As the orchestra inches ever closer to its 100th formal release—Moravec's is its ninety-seventh—there's no better time than the present to acknowledge the vital contribution Rose and the ensemble have made to the contemporary music landscape.

- Textura on Paul Moravec's The Overlook Hotel: The Suite from "The Shining," April 2024

January 3, 2024
... the recording offers a superb sampling of the composer's artistry and stylistic approach, especially when the material's delivered with so much enthusiasm by Rose, the BMOP, and the soloists.

- Textura on Joan Tower's Piano Concerto (Homage to Beethoven), January 2024

December 27, 2023
Marc-André Hamelin, the Boston Modern Orchestra Project, and conductor Gil Rose give a dashing performance on this release (BMOP/sound), which also includes three other Tower concertos. Of those, “Red Maple,” for bassoon and strings, shows how delicate and imaginative Tower’s textural palette can be.

– David Weininger, Boston Globe on Joan Tower's Piano Concerto (Homage to Beethoven), December 2023

December 13, 2023
This album from the dependable Boston Modern Orchestra Project, an orchestra devoted to contemporary music, spotlights four terrific concertos with expert soloists.

– Tom Huizenga, NPR on Joan Tower's Piano Concerto (Homage to Beethoven), December 2023

December 12, 2023
Now on to the new recordings. John Corigliano’s “The Lord of Cries” (Pentatone) and Tobias Picker’s “Awakening” (BMOP/sound) are evidence of the cornucopia of new American operas and some of the best of the recent lot. Each of the works debuted in fully staged productions during the past couple of years, at Santa Fe Opera and Opera Theatre of St. Louis respectively, but both recordings are performed by the versatile and impressive Boston Modern Orchestra Project, conducted by Gil Rose.

– Joseph Dalton, Times Union on John Corigliano and Mark Adamo's The Lord of Cries and Tobias Picker's Awakenings, December 2023

December 11, 2023
No 2023 event has been so unforgettable as Boston Modern Orchestra Project and Odyssey Opera’s one-night run of “Awakenings”… Odyssey and BMOP don’t often reprise events, but I’m hoping this will be an exception. Till then, there’s the album.

– A.Z. Madonna, The Boston Globe on Tobias Picker's Awakenings, December 2023

November 30, 2023
Picker’s score ebbs and flows through a contemporary Romantic vein that he has made his own with a fine ear for instrumentation. Gil Rose, conducting an ensemble with strings, winds, a harp, tuba and piano, relishes a Ravel-like waltz when the patients feel the first benefits of the drug L-Dopa.

– Michael Beek, BBC Music Magazine on Tobias Picker's Awakenings, November 2023

November 23, 2023
The recording... features the Boston Modern Orchestra Project, timeless and prolific advocates for new American music. Conductor Gil Rose's direction is punchy and dramatically alert, while the recording is appropriately in your face.

– Clive Paget, Musical America on John Corigliano and Mark Adamo's The Lord of Cries, November 2023

November 23, 2023
Once again, Boston Modern Orchestra Project under Gil Rose do the honors and prove sure-footed guides, clarifying even the knottiest passages to get to the nub of this richly conceived masterwork.

– Clive Paget, Musical America on Tobias Picker's Awakenings, November 2023

November 10, 2023
Gil Rose conducts the Boston Modern Orchestra Project and the Odyssey Opera Chorus in this complex score with firm control and a strong feeling for drama and dread.

– Eric Meyers, Opera Magazine on John Corigliano and Mark Adamo's The Lord of Cries, November 2023

November 1, 2023
Gil Rose conducts the bravura score with a flourish.

– OperaNow on John Corigliano and Mark Adamo's The Lord of Cries, November 2023

November 1, 2023
Chorus and orchestra respond excellently to the lively direction of Gil Rose, whose consistently sympathetic approach to rare and unusual repertoire should be a model for many conventional opera directors.

– Paul Corfield Godfrey, Music Web International on John Corigliano and Mark Adamo's The Lord of Cries, November 2023

October 9, 2023
BMOP once again showed its commitment to new and modern music through high-level performance coupled with active commissioning and engagement with audiences and composers alike. Composers need this orchestra and this conductor. None could want for a better advocate.

– Ian Wiese, The Boston Musical Intelligencer on BMOP's "Time Change" concert, October 2023

October 6, 2023
The performances by the Boston Modern Orchestra Project, under their founder Gil Rose, are assured and, as is so often appropriate in Dorman’s music, glistening and vividly recorded... The Dorman is release 90, and ten more are scheduled to appear by December 2023, making a round 100!

– Ralph P. Locke, The Arts Fuse on Avner Dorman's Siklòn, October 2023

October 1, 2023
Gil Rose's Boston Modern Orchestra Project has championed contemporary American composers for 26 years, and its BMOP/sound label followed suit with a run of great releases.

– BBC Music Magazine on the BMOP, October 2023

September 29, 2023
...Gil Rose and [BMOP] vividly perform Dorman's very vivid compositions.

– Michael Schulman, The Whole Note Magazine on Avner Dorman's Siklón, October 2023

September 27, 2023
In response to the libretto’s blend of paganism and Gothic horror, Corigliano has composed a score that radiates eerie, nocturnal energy... Led by conductor Gil Rose, members of BMOP — often instructed to improvise — conjure the sounds of scurrying, screeching, flitting, and flapping.

– Joe Cadagin, San Francisco Classical Voice on John Corigliano and Mark Adamo's The Lord of Cries, September 2023

September 27, 2023
Gil Rose and his Boston Modern Orchestra Project... produce another stunning recording of these seminal works, giving me yet another CD to try to squeeze into the... If there ever was a CD that is a sine qua non for the contemporary music collector, this is it.

– David DeBoor Canfield, Fanfare Magazine on Avner Dorman's Siklòn, September 2023

September 8, 2023
In the literary world, this opera would be described as a page-turner... It’s a first-class package on every level...

– Gramophone on John Corigliano and Mark Adamo's The Lord of Cries, September 2023

August 4, 2023
BMOP is led with the vigor and commitment that can almost be taken for granted under the visionary leadership of Gil Rose, here joined by the forces of Odyssey Opera. The recording is clear and spacious.

– Peter Burwasser, The Abso!ute Sound on Anthony Davis' X: The Life and Times of Malcolm X, August 2023

July 30, 2023
Conductor Gil Rose did an admirable job with the huge forces involved, including a lovely children’s chorus and the large Buffalo Philharmonic Orchestra in the pit.

– Michael Rabice, Broadway World on La Fura dels Baus' Carmina Burana, July 31

July 11, 2023
[Vanessa Schukis and Anna Baty] could have no better companions than the Boston Modern Orchestra Project with Gil Rose directing.

– Christopher Cook, BBC Music Magazine on Lee Hoiby's The Italian Lesson, July 2023

June 6, 2023
"Gil Rose and BMOP now give us three works fresh to the catalogue... Each is punctiliously tracked, section by section, movement by movement... The sound is spectacularly clear – no compromise here.

– Rob Barnett, MusicWeb International on Carlos Surinach's Acrobats of God, June 2023

June 1, 2023
This new recording by Odyssey Opera, taken from a 2018 performance that was the work's first hearing in the US, offers a fuller text... and far better orchestral playing under Gil Rose.

– David Shengold, Opera Magazine on Charles Gounod's La Reine de Saba, June 2023

May 30, 2023
"...Gil Rose and the Boston Modern Orchestra Project animate all three scores to vivid theatrical life..."

– Michael Schulman, The WholeNote Magazine on Carlos Surinach's Acrobats of God: The Owl and The Pussycat, May 2023

May 12, 2023
Gil Rose has a special knack for finding music that has somehow slipped through the cracks.

– Andrew Farach-Colton, Gramophone on Carlos Surinach's Acrobats of God, May 2023

May 4, 2023
Rose and the Boston Modern Orchestra Project deliver sterling performances. All of the accolades they've received for the work they've done since the BMOP's founding in 1996 are wholly deserved. A simple scan of its remarkable discography reveals how much attention has been given to composers whose names might threaten to fade into obscurity were it not for the support they've received from the company.

– Textura on Carlos Surinach's Acrobats of God, May 2023

April 16, 2023
Reviews of classical music concerts generally serve two purposes: Those who went can compare their observations with those of critics, and those who didn’t... You missed out on some of the finest orchestral playing heard in the city this year.

– Seth Colter Walls, The New York Times on BMOP 25 Years: Play it Again at Carnegie Hall, April 2023

April 15, 2023
Mr. Rose managed to tame his orchestra. Not tame as chasten. But tame like a whip‑lashing tiger‑tamer who knows–as did these three composers–that beneath the surface of life and music is both radiance and rage.

– Harry Rolnick, ConcertoNet on BMOP 25 Years: Play it Again at Carnegie Hall, April 2023

March 30, 2023
The singers and orchestra turn in an idiomatic and stylistic gem and the opera is unforgettable and vital all at once.

– Grego Applegate Edwards, Classical Modern Music Review on Anthony Davis's X: The Life and Times of Malcom X, March 2023

March 10, 2023
The company's choir contributes to the lyrical force of a score defended by Gil Rose and the Boston Modern Orchestra Project, which confirms that opera, like cinema, is capable of conveying strong stories.

– Gilles Charlassier, Jim le Pariser on Tobias Picker's Awakenings, March 2023

March 1, 2023
Under Gil Rose, BMOP’s orchestra and chorus offer a vivid rendering of the score, their efforts buttressed by an “improviser ensemble” that helps connect X securely to the realm of jazz.

– Fred Cohn, Opera News on Anthony Davis's X: The Life and Times of Malcolm X, March 2023

February 27, 2023
The music itself, conducted by Odyssey artistic and general director Gil Rose, was rooted in a persistent tone played in a heartbeat-steady rhythm...

– A.Z. Madonna, Boston Globe on Tobias Picker's Awakenings, February 2023

February 26, 2023
Gil Rose led the Boston Modern Orchestra Project in the pit with his customary vigor.

– Jonathan Blumhofer, Boston Classical Review on Tobias Picker's Awakenings, February 2023

February 26, 2023
Gil Rose, quite comfortable with experimentation, showed his versatility of style and sophistication.

– Stephanie Oestreich, The Boston Musical Intelligencer on Tobias Picker's Awakenings, February 2023

December 27, 2022
Restored to fullness, there is a sweep and grandeur to the music that occasionally flags but is largely irresistible.

– David Weininger, Boston Globe on Camille Saint-Saëns' Henry VIII, December 2022

December 22, 2022
In which a young Malcolm Little — not yet surnamed X — receives a tour of Boston while listeners get a sense of what makes Davis one of today’s great opera composers...

– Seth Colter Walls, NYT on Anthony Davis's X: The Life and Times of Malcolm X, December 2022

December 16, 2022
X: The Life and Times of Malcolm X is now even more relevant than when first presented and can legitimately be regarded as one of the most significant American operas of the last half-century. Needless to say, Rose and the BMOP are to be applauded for casting newfound attention on the work.

– Textura on Anthony Davis's X: The Life and Times of Malcolm X, December 2022

December 15, 2022
Rose, the orchestra, chorus and vocal soloists seemed tireless, especially bass Mikhail Svetlov in his extraordinarily complex and nuanced 20-minute monologue as the miserly baron.

– Lloyd Schwarz, WBUR on Troika, December 2022

December 15, 2022
Artistic director and conductor Gil Rose joined forces with BMOP... for a powerful revival of Anthony Davis’s “X: The Life and Times of Malcom X.” This was a fuller, more complete staged version, with a stellar cast...

– Lloyd Schwartz, WBUR on Anthony Davis's X, The Life and Times of Malcolm X, December 2022

December 9, 2022
“X,”... drew a riveting portrait of an entire era with the particular dimensionality and psychological shadings that only opera can bring.

– Jeremy Eichler, Boston Globe on X, The Life and Times of Malcolm X, December 2022

December 3, 2022
[BMOP, X] recording is fantastic. It is just tremendous... It was a fabulous cast and I couldn’t be happier with the result.

– Anthony Davis on Rob Shepherd's Post Genre Interview on X, The Life and Times of Malcolm X, December 2022.

November 30, 2022
... this new recording with Odyssey Opera and Boston Modern Orchestra Project led by Gil Rose, is a little weightier, benefits from a tighter libretto, and is generally more involving.

– Clive Paget, Musical America on X, The Life and Times of Malcolm X, November 2022

November 26, 2022
"Leave it to Gil Rose, Boston Modern Orchestra Project and Odyssey Opera to present one of the most important operas of the last decade."

– Susan Hall, Berkshire Fine Arts on John Corigliano's Lord of Cries, 2022.

November 21, 2022
Gil Rose, gave a vigorous and often incandescent account which matched the work of the excellent vocalists...

– Brian Schuth, The Boston Music Intelligencer on John Corigliano's Lord of Cries, November 2022

November 21, 2022
Gil Rose and the BMOP/Odyssey orchestra and chorus did full justice to the pathos, violence, and sly humor of Corigliano’s writing...

– Jeffrey Gantz, The Boston Globe on John Corigliano's Lord of Cries, November 2022

November 20, 2022
The orchestral contributions... were as refined and secure as this ensemble has ever delivered.

– Jonathan Blumhofer, Boston Classical Review on John Corigliano's Lord of Cries, November 2022

September 26, 2022
Rose conjured gorgeous playing from every featured section of the Odyssey Opera Orchestra…

Harry Rose, Parterre Box on Rachmaninoff’s Troika, September 2022

September 26, 2022
Rose’s sense of drama held it all together; there wasn’t a dead moment the entire afternoon.

Jeffrey Gantz, Boston Globe on Rachmaninoff’s Troika, September 2022

September 1, 2022
There can be no praise high enough for what Gil Rose and his inspired forces attained in this remarkable realization of extraordinary music.

John Ehrlich, The Boston Musical Intelligencer on Rachmaninoff’s Troika, September 2022

March 29, 2022
Walter Piston won't win any awards for expressing geysers of passion in his music, but he was a true craftsman and these four relatively brief works (the Concerto for Orchestra is the longest, at 14 minutes) have plenty of musical meat on their bones. The Boston Modern Orchestra Project, as usual, plays them very well under Gil Rose's leadership, and the engineering is excellent. A fine release for collectors of good American orchestral music.

– Dave Hurwitz, Classics Today on Piston Walker's Concerto for Orchestra, March 29, 2022

January 1, 2020
Deservedly awarded the 2020 Grammy for ‘Best Opera Recording,’ Fantastic Mr. Fox is the latest feather in the cap of BMOP and its conductor Gil Rose.

—Textura on Tobias Picker’s: Fantastic Mr. Fox (BMOP/sound 1064, 2020)

November 1, 2019
Once again Boston audiences are indebted to the questing imagination of Gil Rose.

—Steven Ledbetter, The Boston Musical Intelligencer on Pacini’s Maria, Regina d’Inghilterra, November 2019

November 1, 2019
…25 Best Classical Music tracks of 2019.

—Seth Colter Walls, New York Times on David Sanford: Black Noise (BMOP/sound 1063, 11/2019)

October 1, 2019
Rose captured a sly wit by coaxing playing well attuned to the buoyancy and grace of once popular musical styles.

—Aaron Keebaugh, Boston Classical Review, October 2019

September 1, 2019
Gil Rose leading the Odyssey Opera Chorus and Orchestra, it was one for the history books.

—The South Shore Critic on Saint-Saën’s Henry VIII, September 2019

April 1, 2019
Gil Rose appeared in total control of his sizeable performing forces and provided some thrilling orchestral climax’s.

Ed Tapper, Edge Medias Network on Strauss’s Die Aegyptische Helena, April 2019

February 1, 2019
Gil Rose led the small but energetic orchestra with aplomb and accustomed self-assurance, once again Rose has given energy and elan to a hidden gem of the operatic canon.

John W. Erlich, American Record Guide on Gluck’s Paride ed Elena, February 2019

November 1, 2018
And of course, it should almost go without saying that Maestro Rose once again pulled a performance out of his orchestra that perfectly encapsulated the spirit of fun that surrounds the work.

Arturo Fernandez, Schmopera on Gounod’s Le Médecin Malgre Lui, November, 2018

October 1, 2018
BMOP concerts constitute real events, Give Rose and his musicians a chance. Perhaps you will happen upon a new composer who you can speak to you-musically and conversationally.

—Ian Wiese, The Boston Musical Intelligencer, October, 2018

October 1, 2018
Gil Rose conducts a performance of arresting character, finesse and instrumental prowess.

Donald Rosenberg, Gramophone on David del Tredici: Child Alice (BMOP/sound 10563/2018)

September 1, 2018
Rose’s baton was swift and secure, and the conductor mined every ounce of drama from the score. He drew orchestral accompaniment that was sensitive to the singers’ every phrase. The ballet in Act 4, with its rustic verve and quick Parisian waltzes, was a particular non-vocal highlight.

Aaron Keebaugh, Boston Classical Review on Gounod’s La Reine de Saba, September, 2018

February 1, 2018
Rose led BMOP in a forceful, sometimes breathless, reading of the piece, one in which the music’s dark undercurrents glowed ominously.

Jonathan Blumhofer, The Arts Fuse, February, 2018

December 1, 2017
Rose and the orchestra gave the piece a reading of stirring energy and delicacy.

Aaron Keebaugh, Boston Classical Review on Dello Joio’s The Trial at Rouen, December, 2017

December 1, 2017
This exciting recording of four works by Stephen Hartke, written over some 30 years, confirms that he is one of the most distinctive and important living composers.

Anthony Tommasini, The New York Times on Stephen Hartke: The Ascent of the Equestrian in a Balloon (BMOP/sound 1052, 12/2017)

June 1, 2017
Conductor Gil Rose displayed his usual sense of style and sophistication, letting the playfulness of the score bubble up naturally and never winking to the audience to indicate how much fun they should be having.

Kalen Ratzlaff, Opera News on Gilbert & Sullivan’s Patience, June 2017

February 1, 2017
“Conductor Gil Rose, with his clarity of focus, guided the deliberate and frenetic energy of the final movement.

David Stevens, The Boston Musical Intelligencer, February, 2017

February 1, 2017
Rose conducts with a pace and wit

Stereophile on Virgil Thomson: Four Saints in Three Acts (BMOP/sound 1049, 2/2017)

February 1, 2017
Gil Rose conducts a performance at once elegant and vibrant.

Donald Rosenberg, Gramophone on Virgil Thomson: Four Saints in Three Acts (BMOP/sound 1049, 2/2017)

December 1, 2016
Gil Rose led a compelling performance of this long and often gripping work, in its Boston premiere.

Lloyd Schwartz, WBUR Year End review on Antonin Dvorák’s Dimitrij, December, 2016

November 1, 2016
Once again, Rose has proven to be a master of rediscovery of undeservedly overlooked music. It’s a role we should never take for granted.

Jack Craib, The South Shore Critic on Lowell Liebermann’s The Portrait of Dorian Gray, November 2016

October 1, 2016
Gil Rose conducted with his customary alertness and precision.

Mark DeVoto, The Boston Musical Intelligencer, October, 2016

September 1, 2016
At Jordan Hall, Odyssey artistic director Gil Rose pulled out every stop in a performance that ran just over four hours, his reading accorded full justice to the thunder and lightning of Russian history.

Jeffrey Gantz, Boston Globe on Antonin Dvorák’s Dimitrij, September 2016

April 1, 2016
As one has come to expect, BMOP music director and conductor Gil Rose led his forces with verve and style, cutting an easy path for the listener through a thick orchestral text. His orchestra played as if they were one of the Big Five

David Bonetti, Berkshire Fine Arts, April 2016

March 1, 2016
“Gil Rose demonstrated on Friday evening at the New England Conservatory’s Jordan Hall, when he led the Boston Modern Orchestra Project and the soprano Courtenay Budd in a stunning performance of “Child Alice,” the most ambitious work in the series.

Allan Kozinn, The Wall Street Journal, March, 2016

March 1, 2016
On that last count Del Tredici is fortunate, as are we listeners, to have an advocate so resourceful, skillful, and determined as Rose.

Steve Smith, The Boston Musical Intelligencer, March, 2016

January 1, 2016
Gil Rose invests each score with incisive and brilliant intensity

Donald Rosenberg, Gramophone on Kati Agocs: The Debrecen Passion (BMOP/sound 1046 1/2016)

January 1, 2016
Rose and BMOP aren’t afraid to really let it rip in this music’s most powerful moments.

Geoffrey Larson, Second Inversion, King FM 98 on Mason Bates: Mothership (BMOP/sound 1045 1/2016)

December 1, 2015
performances under Gil Rose all the vibrancy that this relentless original music deserves

David Weininger, The Boston Globe on Lukas Foss: Complete Symphonies (BMOP/sound 1043 12/2015)

November 1, 2015
Gil Rose and the orchestra delivered a reading that bristled with energy, wry humor, and an unsettled emotional urgency

Jonathan Blumhofer, The Arts Fuse, November, 2015

September 20, 2015
Rose and the orchestra were attuned to his rhetoric, turning the sheer atmospheric presence of slow-moving and even static landscapes to dramatic ends

Matthew Guerrieri, The Boston Globe, September 20, 2015

September 1, 2015
Conductor Gil Rose was something of a Cid himself on the podium Friday, marshaling his large forces in the seemingly-endless series of crashing climaxes typical of this genre.

David Wright, Boston Classical Review on Jules Massenet’s Le Cid, September 2015

September 1, 2015
Conductor Gil Rose paced the opera’s many climaxes well and kept things flowing both smoothly and, considering the amount of music to get through, rather briskly… In the (performance) category, Odyssey remains the gold standard for professional opera in Boston.

Jonathan Blumhofer, The Arts Fuse on Jules Massenet’s Le Cid, September 2015

September 1, 2015
Gil Rose and the Boston ensemble raise the sonic roof when the aren’t savoring the delicate pleasures in Crockett’s music

Donald Rosenberg, Gramophone on Donald Crockett: Blue Earth (BMOP/sound 1042, 9/2015)

July 21, 2015
Rose’s unmannered conducting of the two dance scores kept the kinetic spirit moving whether it was in sustained contemplation or ferocious energy… Rose keeps the tension up, controlling the vivid opposition of wildly whirling circles of woodwind figures or dissonant rhythmic chords… Gil Rose’s conducting is clear and unfussy, pulling the busy elements together precisely, for all the rhythmic energy and complexity.

Steven Ledbetter, The Boston Musical Intelligencer, July 21, 2015

June 1, 2015
Conductor Gil Rose does a masterful job in presenting and pacing these performances.

Fanfare on Irving Fine: Complete Orchestral Works (BMOP/sound 1041, 6/2015)

May 1, 2015
Rose and the ensemble have produced a series of terrific albums over the last few years. As far as I’m concerned, this one is their finest yet.

The ArtsFuse on Andrew Norman: Play (BMOP/sound 1040, 5/2015)

July 1, 2024
As ever, Gil Rose’s forces proved well prepared and virtuosic.
David Shengold
,
OPERA Magazine

- David Shengold, OPERA Magazine on POE, July 2024

December 11, 2023
No 2023 event has been so unforgettable as Boston Modern Orchestra Project and Odyssey Opera’s one-night run of “Awakenings”… Odyssey and BMOP don’t often reprise events, but I’m hoping this will be an exception. Till then, there’s the album.
AZ Madonna
,
The Boston Globe

– A.Z. Madonna, The Boston Globe on Tobias Picker's Awakenings, December 2023

July 30, 2023
Conductor Gil Rose did an admirable job with the huge forces involved, including a lovely children’s chorus and the large Buffalo Philharmonic Orchestra in the pit.
Michael Rabice
,
Broadway World

– Michael Rabice, Broadway World on La Fura dels Baus' Carmina Burana, July 31

March 30, 2023
The singers and orchestra turn in an idiomatic and stylistic gem and the opera is unforgettable and vital all at once.
Grego Applegate Edwards
,
Gapplegate Classical Modern Music Review

– Grego Applegate Edwards, Classical Modern Music Review on Anthony Davis's X: The Life and Times of Malcom X, March 2023

March 10, 2023
The company's choir contributes to the lyrical force of a score defended by Gil Rose and the Boston Modern Orchestra Project, which confirms that opera, like cinema, is capable of conveying strong stories.
Gilles Charlassier
,
Jim le Pariser

– Gilles Charlassier, Jim le Pariser on Tobias Picker's Awakenings, March 2023

March 1, 2023
Under Gil Rose, BMOP’s orchestra and chorus offer a vivid rendering of the score, their efforts buttressed by an “improviser ensemble” that helps connect X securely to the realm of jazz.
Fred Cohn
,
Opera News

– Fred Cohn, Opera News on Anthony Davis's X: The Life and Times of Malcolm X, March 2023

February 27, 2023
The music itself, conducted by Odyssey artistic and general director Gil Rose, was rooted in a persistent tone played in a heartbeat-steady rhythm...
A.Z. Madonna
,
The Boston Globe

– A.Z. Madonna, Boston Globe on Tobias Picker's Awakenings, February 2023

February 26, 2023
Gil Rose led the Boston Modern Orchestra Project in the pit with his customary vigor.
Jonathan Blumhofer
,
Boston Classical Review

– Jonathan Blumhofer, Boston Classical Review on Tobias Picker's Awakenings, February 2023

February 26, 2023
Gil Rose, quite comfortable with experimentation, showed his versatility of style and sophistication.
Stephanie Oestreich
,
The Boston Musical Intelligencer

– Stephanie Oestreich, The Boston Musical Intelligencer on Tobias Picker's Awakenings, February 2023

December 16, 2022
X: The Life and Times of Malcolm X is now even more relevant than when first presented and can legitimately be regarded as one of the most significant American operas of the last half-century. Needless to say, Rose and the BMOP are to be applauded for casting newfound attention on the work.
,
Textura

– Textura on Anthony Davis's X: The Life and Times of Malcolm X, December 2022

December 15, 2022
Rose, the orchestra, chorus and vocal soloists seemed tireless, especially bass Mikhail Svetlov in his extraordinarily complex and nuanced 20-minute monologue as the miserly baron.
Lloyd Schwartz
,
WBUR

– Lloyd Schwarz, WBUR on Troika, December 2022

December 15, 2022
Artistic director and conductor Gil Rose joined forces with BMOP... for a powerful revival of Anthony Davis’s “X: The Life and Times of Malcom X.” This was a fuller, more complete staged version, with a stellar cast...
Lloyd Schwartz
,
WBUR

– Lloyd Schwartz, WBUR on Anthony Davis's X, The Life and Times of Malcolm X, December 2022

December 9, 2022
“X,”... drew a riveting portrait of an entire era with the particular dimensionality and psychological shadings that only opera can bring.
Jeremy Eichler
,
Boston Globe

– Jeremy Eichler, Boston Globe on X, The Life and Times of Malcolm X, December 2022

December 3, 2022
[BMOP, X] recording is fantastic. It is just tremendous... It was a fabulous cast and I couldn’t be happier with the result.
Rob Shepherd
,
PostGenre

– Anthony Davis on Rob Shepherd's Post Genre Interview on X, The Life and Times of Malcolm X, December 2022.

November 26, 2022
"Leave it to Gil Rose, Boston Modern Orchestra Project and Odyssey Opera to present one of the most important operas of the last decade."
Susan Hall
,
Berkshire Fine Arts

– Susan Hall, Berkshire Fine Arts on John Corigliano's Lord of Cries, 2022.

November 21, 2022
Gil Rose, gave a vigorous and often incandescent account which matched the work of the excellent vocalists...
Brian Schuth
,
The Boston Music Intelligencer

– Brian Schuth, The Boston Music Intelligencer on John Corigliano's Lord of Cries, November 2022

November 21, 2022
Gil Rose and the BMOP/Odyssey orchestra and chorus did full justice to the pathos, violence, and sly humor of Corigliano’s writing...
Jeffrey Gantz
,
The Boston Globe

– Jeffrey Gantz, The Boston Globe on John Corigliano's Lord of Cries, November 2022

November 20, 2022
The orchestral contributions... were as refined and secure as this ensemble has ever delivered.
Jonathan Blumhofer
,
Boston Classical Review

– Jonathan Blumhofer, Boston Classical Review on John Corigliano's Lord of Cries, November 2022

September 26, 2022
Rose conjured gorgeous playing from every featured section of the Odyssey Opera Orchestra…
Harry Rose
,
Parterre Box

Harry Rose, Parterre Box on Rachmaninoff’s Troika, September 2022

September 26, 2022
Rose’s sense of drama held it all together; there wasn’t a dead moment the entire afternoon.
Jeffrey Gantz
,
The Boston Globe

Jeffrey Gantz, Boston Globe on Rachmaninoff’s Troika, September 2022

September 1, 2022
There can be no praise high enough for what Gil Rose and his inspired forces attained in this remarkable realization of extraordinary music.
John Ehrlich
,
The Boston Musical Intelligencer

John Ehrlich, The Boston Musical Intelligencer on Rachmaninoff’s Troika, September 2022

November 1, 2019
Once again Boston audiences are indebted to the questing imagination of Gil Rose.
Steven Ledbetter
,
The Boston Musical Intelligencer

—Steven Ledbetter, The Boston Musical Intelligencer on Pacini’s Maria, Regina d’Inghilterra, November 2019

September 1, 2019
Gil Rose leading the Odyssey Opera Chorus and Orchestra, it was one for the history books.
,
The South Shore Critic

—The South Shore Critic on Saint-Saën’s Henry VIII, September 2019

April 1, 2019
Gil Rose appeared in total control of his sizeable performing forces and provided some thrilling orchestral climax’s.
,

Ed Tapper, Edge Medias Network on Strauss’s Die Aegyptische Helena, April 2019

February 1, 2019
Gil Rose led the small but energetic orchestra with aplomb and accustomed self-assurance, once again Rose has given energy and elan to a hidden gem of the operatic canon.
,

John W. Erlich, American Record Guide on Gluck’s Paride ed Elena, February 2019

November 1, 2018
And of course, it should almost go without saying that Maestro Rose once again pulled a performance out of his orchestra that perfectly encapsulated the spirit of fun that surrounds the work.
,

Arturo Fernandez, Schmopera on Gounod’s Le Médecin Malgre Lui, November, 2018

September 1, 2018
Rose’s baton was swift and secure, and the conductor mined every ounce of drama from the score. He drew orchestral accompaniment that was sensitive to the singers’ every phrase. The ballet in Act 4, with its rustic verve and quick Parisian waltzes, was a particular non-vocal highlight.
,

Aaron Keebaugh, Boston Classical Review on Gounod’s La Reine de Saba, September, 2018

December 1, 2017
Rose and the orchestra gave the piece a reading of stirring energy and delicacy.
,

Aaron Keebaugh, Boston Classical Review on Dello Joio’s The Trial at Rouen, December, 2017

June 1, 2017
Conductor Gil Rose displayed his usual sense of style and sophistication, letting the playfulness of the score bubble up naturally and never winking to the audience to indicate how much fun they should be having.
,

Kalen Ratzlaff, Opera News on Gilbert & Sullivan’s Patience, June 2017

December 1, 2016
Gil Rose led a compelling performance of this long and often gripping work, in its Boston premiere.
,

Lloyd Schwartz, WBUR Year End review on Antonin Dvorák’s Dimitrij, December, 2016

November 1, 2016
Once again, Rose has proven to be a master of rediscovery of undeservedly overlooked music. It’s a role we should never take for granted.
,

Jack Craib, The South Shore Critic on Lowell Liebermann’s The Portrait of Dorian Gray, November 2016

September 1, 2016
At Jordan Hall, Odyssey artistic director Gil Rose pulled out every stop in a performance that ran just over four hours, his reading accorded full justice to the thunder and lightning of Russian history.
,

Jeffrey Gantz, Boston Globe on Antonin Dvorák’s Dimitrij, September 2016

September 1, 2015
Conductor Gil Rose was something of a Cid himself on the podium Friday, marshaling his large forces in the seemingly-endless series of crashing climaxes typical of this genre.
,

David Wright, Boston Classical Review on Jules Massenet’s Le Cid, September 2015

September 1, 2015
Conductor Gil Rose paced the opera’s many climaxes well and kept things flowing both smoothly and, considering the amount of music to get through, rather briskly… In the (performance) category, Odyssey remains the gold standard for professional opera in Boston.
,

Jonathan Blumhofer, The Arts Fuse on Jules Massenet’s Le Cid, September 2015

September 1, 2013
Given Rose’s taught, exciting conducting, it’s time to put aside fears of this opera’s "impossible" length … The audience gave the performers and triumphant conductor Gil Rose a tumultuous ovation.
,

William Fregosi, Parterre Box on Richard Wagner’s Rienzi, September 2013

September 1, 2013
Gil Rose kept everything moving with a fire-breathing momentum that shaped the whole performance.
,

Lloyd Schwartz, New York Arts on Richard Wagner’s Rienzi, September 2013

September 1, 2013
But the real star Sunday might have been the Odyssey Opera orchestra. Complemented by offstage bands and women’s chorus, conductor Gil Rose seemed determined to pull all the stops for this performance. It is to his credit that he not only sustains but rides Wagner’s relentless orchestra climaxes without losing orchestral clarity.
,

Angelo Mao, Boston Classical Review on Richard Wagner’s Rienzi, September 2013

February 1, 2011
Conductor Gil Rose was very much in his element, doing what he does best: keeping up the momentum, offering flawless guidance to the singers and instrumentalists and bringing clarity to almost unbearable musical intricacy.
,

Tom Schnauber, The Boston Musical Intelligencer on Paul Hindemith’s Cardillac, February, 2011

May 1, 2009
If Gil Rose and Opera Boston get any hotter, we’re going to have to declare Boston a tropical paradise.
,

Keith Powers, The Boston Herald on Bedrich Smetana’s The Bartered Bride, May 2009

October 1, 2008
Clearly Gil Rose's experience with contemporary music has developed his ability to read the classics with a fresh ear. There is no doubt that he is one of the most brilliant conductors of the upcoming generation.
,

Michael Miller, The Berkshire Review for the Arts on Karl Maria von Weber’s Der Freischutz, October 2008

May 1, 2008
Gil Rose is one of Boston’s most skillful and versatile conductors.
,

Lloyd Schwartz, The Boston Phoenix on Giuseppe Verdi’s Ernani, May 2008

October 1, 2006
Gil Rose emerged as a Mozart conductor of energy and refinement.
,

Lloyd Schwartz, The Boston Phoenix on Wolfgang Mozart’s La Clemenza di Tito, October 2006

June 1, 2006
Gil Rose conducted with admirable command.
,

Bernard Holland, The New York Times on Peter Eotvos’ Angels in America, June 2006

June 1, 2006
And the applause that greeted the gifted and committed conductor Gil Rose when he appeared to begin the second act showed that the audience recognizes him for the local hero he is.
,

Richard Dyer, The Boston Globe on Peter Eotvos’ Angels in America, June 2006

April 1, 2006
...the amazingly versatile conductor Gil Rose showed himself the master of yet another operatic style.
,

Richard Dyer, The Boston Globe on Gaetano Donizetti’s Lucrezia Borgia, April 2006

October 1, 2004
In La Vie Parisienne there are more melodies than you can shake a stick at, so conductor Gil Rose shook a stick at them, giving each of them a voluptuous curve, a pinch on the bottom, an ooh la la, and, when it counted, a half hidden tear.
,

Richard Dyer, The Boston Globe on Jacques Offenbach’s La Vie Paressienne, October 2004

May 1, 2004
Opera Boston's music director, Gil Rose, proved himself a superb Verdian, thinking out both the subtle details of small phrases and the sweep of entire scenes.
,

Lloyd Schwartz, The Boston Phoenix on Giuseppe Verdi’s Luisa Miller, May 2004

May 1, 2004
Gil Rose turns out to conduct Verdi as stylishly as he conducts everything else; he was first-rate, and the orchestra played well for him.
,

Richard Dyer, The Boston Globe on Giuseppe Verdi’s Luisa Miller, May 2004

Rose led a buoyant and fluid performance from the pit, drawing limpid playing from the orchestra right up through Joan’s final ascension to heaven.
,

Jeremy Eichler, The Boston Globe on Verdi’s Giovanna d’Arco, April, 2018

Gil Rose led the assorted forces with his accustomed clarity and assurance.
,

John Ehrlich, Boston Musical Intelligencer on Donizetti’s Siege of Calais,October 2017

Hats off to Odyssey artistic director Gil Rose for dreaming this project up. With this season’s offering he has truly outdone himself. From the podium Rose led the large orchestra and chorus in what amounted to a triumph of stamina and execution.
,

Jeremy Eichler, The Boston Globe on Tchaikovsky’s Maid of Orléans, September 2017

This performance of Dimitrij represents the fourth time in as many years that Gil Rose and Odyssey Opera have provided an exceptionally special and rare musical experience to Boston opera lovers.
,

Steven Ledbetter, The Boston Musical Intelligencer on Antonin Dvorák’s Dimitrij, September 2016

May 28, 2024
Rose conducted the entire program with the precise control and vigor that have made his mark with BMOP ever since 1996.

Mark DeVoto, The Boston Musical Intelligencer, May 2024

Mark DeVoto
,
The Boston Musical Intelligencer
October 9, 2023
BMOP once again showed its commitment to new and modern music through high-level performance coupled with active commissioning and engagement with audiences and composers alike. Composers need this orchestra and this conductor. None could want for a better advocate.

– Ian Wiese, The Boston Musical Intelligencer on BMOP's "Time Change" concert, October 2023

Ian Wiese
,
The Boston Musical Intelligencer
October 1, 2023
Gil Rose's Boston Modern Orchestra Project has championed contemporary American composers for 26 years, and its BMOP/sound label followed suit with a run of great releases.

– BBC Music Magazine on the BMOP, October 2023

,
BBC Music Magazine
April 16, 2023
Reviews of classical music concerts generally serve two purposes: Those who went can compare their observations with those of critics, and those who didn’t... You missed out on some of the finest orchestral playing heard in the city this year.

– Seth Colter Walls, The New York Times on BMOP 25 Years: Play it Again at Carnegie Hall, April 2023

Seth Colter Walls
,
The New York Times
April 15, 2023
Mr. Rose managed to tame his orchestra. Not tame as chasten. But tame like a whip‑lashing tiger‑tamer who knows–as did these three composers–that beneath the surface of life and music is both radiance and rage.

– Harry Rolnick, ConcertoNet on BMOP 25 Years: Play it Again at Carnegie Hall, April 2023

Harry Rolnick
,
ConcertoNet
October 1, 2019
Rose captured a sly wit by coaxing playing well attuned to the buoyancy and grace of once popular musical styles.

—Aaron Keebaugh, Boston Classical Review, October 2019

Aaron Keebaugh
,
Boston Classical Review
October 1, 2018
BMOP concerts constitute real events, Give Rose and his musicians a chance. Perhaps you will happen upon a new composer who you can speak to you-musically and conversationally.

—Ian Wiese, The Boston Musical Intelligencer, October, 2018

Ian Wiese
,
The Boston Musical Intelligencer
February 1, 2018
Rose led BMOP in a forceful, sometimes breathless, reading of the piece, one in which the music’s dark undercurrents glowed ominously.

Jonathan Blumhofer, The Arts Fuse, February, 2018

,
February 1, 2017
“Conductor Gil Rose, with his clarity of focus, guided the deliberate and frenetic energy of the final movement.

David Stevens, The Boston Musical Intelligencer, February, 2017

,
October 1, 2016
Gil Rose conducted with his customary alertness and precision.

Mark DeVoto, The Boston Musical Intelligencer, October, 2016

,
April 1, 2016
As one has come to expect, BMOP music director and conductor Gil Rose led his forces with verve and style, cutting an easy path for the listener through a thick orchestral text. His orchestra played as if they were one of the Big Five

David Bonetti, Berkshire Fine Arts, April 2016

,
March 1, 2016
“Gil Rose demonstrated on Friday evening at the New England Conservatory’s Jordan Hall, when he led the Boston Modern Orchestra Project and the soprano Courtenay Budd in a stunning performance of “Child Alice,” the most ambitious work in the series.

Allan Kozinn, The Wall Street Journal, March, 2016

,
March 1, 2016
On that last count Del Tredici is fortunate, as are we listeners, to have an advocate so resourceful, skillful, and determined as Rose.

Steve Smith, The Boston Musical Intelligencer, March, 2016

,
November 1, 2015
Gil Rose and the orchestra delivered a reading that bristled with energy, wry humor, and an unsettled emotional urgency

Jonathan Blumhofer, The Arts Fuse, November, 2015

,
September 20, 2015
Rose and the orchestra were attuned to his rhetoric, turning the sheer atmospheric presence of slow-moving and even static landscapes to dramatic ends

Matthew Guerrieri, The Boston Globe, September 20, 2015

,
July 21, 2015
Rose’s unmannered conducting of the two dance scores kept the kinetic spirit moving whether it was in sustained contemplation or ferocious energy… Rose keeps the tension up, controlling the vivid opposition of wildly whirling circles of woodwind figures or dissonant rhythmic chords… Gil Rose’s conducting is clear and unfussy, pulling the busy elements together precisely, for all the rhythmic energy and complexity.

Steven Ledbetter, The Boston Musical Intelligencer, July 21, 2015

,
March 1, 2015
Gil Rose led with authority from first note to last.

John Ehrlich, American Record Guide, March 2015

,
December 24, 2014
It’s not too much to say that classical music in the region wouldn’t be nearly as rich, meaningful, or fun as it is without Rose’s tireless advocacy for, especially, the fringes of the repertoire.

Arts Fuse, December 24, 2014

,
December 9, 2014
Sunday’s performance sparkled under Gil Rose’s baton.

Jeremy Eichler, The Boston Globe, December 9, 2014

,
July 16, 2014
The programming, devised by the festival’s artistic director, Gil Rose, is typically as varied and engaging as, well, we’ve come to expect from Rose’s programming for his other ensembles. It all adds up to something far from predictable, even when the music is familiar. Take Saturday night’s opening night program. It read like a Mendelssohn greatest hits parade ... Rose and the orchestra paid close attention to the details of the score, which resulted in a reading that was both forceful and, texturally, remarkably clear.

Jonathan Blumhofer, Arts Fuse, July 16, 2014

,
May 17, 2014
Rose and the orchestra performed it with enormous drama and passion ...

Rodney Lister, Sequenza 21 on Irving Fine’s Symphony, May 17, 2014

,
January 20, 2014
The orchestra, under artistic director Gil Rose, played with an assurance that is both familiar and still astonishing.

David Weininger, The Boston Globe, January 20, 2014

,
November 24, 2013
Conductor Gil Rose drew a consistently passionate and luminous sound from his orchestra … I was impressed once again by his versatility.

The Hub Review, November 24, 2013

,
February 18, 2013
Rose seemed highly engaged, and pursued clarity and precision to excellent effect … Rose and the orchestra dug into the sheer physicality of this music.

Vance Koven, The Boston Musical Intelligencer, February 18, 2013

,
November 18, 2012
Rose conducted the orchestra with real feeling, driving it propulsively and bringing out all the color of its tightly woven sonic tapestry.

David Bonetti, Berkshire Fine Arts, November 18, 2012

,
November 13, 2012
Rose and the orchestra pumped those colors up to almost overwhelming affect – a wall of brawny, gleaming sound.

Matthew Guerrieri, Musical America, November 13, 2012

,
November 11, 2012
Its glorious score, laced with startlingly complex counterpoint and icy-clear vocal styling, made it a perfect vehicle for the no-challenge-too-great BMOP and its inimitable leader.

Keith Powers, Boston Classical Review, November 11, 2012

,
May 31, 2012
Rose’s handling of brass is often breathtaking.

Matt Temple, Stylus, May 31, 2012

,
May 30, 2012
Rose next led one of the best live performances I’ve ever heard of one of the 20th century’s most sublime ballet scores.

Lloyd Schwartz, The Boston Phoenix, May 30, 2012

,
January 30, 2012
BMOP’s artistic director Gil Rose deftly conducted the eclectic program with his customary avant-garde calm.

Harlow Robinson, The Boston Globe, January 30, 2012

,
January 29, 2012
The BMOP players and Mr. Rose were with him every step of the way, energetically articulating the score’s kaleidoscopic colors … [they] again procured ideal accompanists, enunciating the score’s architecture with clarity and purpose … they are one of the city’s – and the nation’s – most important musical treasures.

Jonathan Blumhofer, The Arts Fuse, January 29, 2012

,
November 21, 2011
Rose maintained a strong intensity throughout the work and under his attentive direction, the musicians delivered a remarkably moving performance.

Keith Powers, Boston Classical Review, November 21, 2011

,
March 19, 2010
"BMOP's performance left the audience in a stunned silence that broke into violent applause.

Sudeep Agarwala, The Tech, March 19, 2010

,
March 30, 2009
Gil Rose is a wonderful conductor, and amazes everybody around this city with his undertakings with this ensemble and also with Opera Boston, which he directs.

Charles Warren, The Berkshire Review for the Arts, March 30, 2009

,
November 6, 2007
BMOP, under Gil Rose, gave the kind of vital, secure performances we have come almost to take for granted. May the remain glorious and subversive for years to come.

David Weininger, The Boston Globe, November 6, 2007

,
October 28, 2007
BMOP’s performances draw the city’s youngest concert crowds by far, with their combination of Rose’s savvy programming, the orchestra’s incisive and stylish playing, and a general vibe that somehow weds a breezy coolness with a healthy dose of chaos.

Jeremy Eichler, The Boston Globe, October 28, 2007

,
November 7, 2006
...sculpted with conductor Gil Rose’s characteristic verve and clarity.

Kevin Lowenthal, The Boston Globe, November 7, 2006

,
May 29, 2006
The audience went wild for the soloist, the band, the piece, the composer, and BMOP’s animator, the versatile, unobtrusive, and expert Rose.

Richard Dyer, The Boston Globe, May 29, 2006

,
January 30, 2006
Rose displayed a keen understanding of how to pace the large work.

Andrew Druckenbrod, Pittsburgh Post-Gazette, January 30, 2006

,
February 20, 2005
When the music finally stopped, the audience brought Gil Rose out for three curtain calls - deservedly so.

Galen Brown, Sequenza 21, February 20, 2005

,
October 7, 2004
Throughout, Rose and the orchestra nailed every detail, in every style. BMOP's opening concert set a high bar for all contemporary-music events this season.

Lloyd Schwartz, The Boston Phoenix, October 7, 2004

,
August 4, 2004
The Boston Symphony Chamber Players, led by conductor Gil Rose, delivered a positively glowing rendition of Wagner's "Siegfried Idyll.

Ted Medrek, The Boston Herald, August 4, 2004

,
May 26, 2004
BMOP founder and artistic director Gil Rose has a genius for programming … all the performances were first-rate, and Rose leads every piece as if it were his favorite.

Richard Dyer, The Boston Globe, May 26, 2004

,
May 24, 2004
Gil Rose led his excellent ensemble with unmistakable skill, featuring a meticulous ear for balance and detail.

David Clearly, New Music Connoisseur, May 24, 2004

,
May 23, 2004
BMOP Music Director Gil Rose - who in less than a decade here has become one of the most important musicians in this city - led his marvelous orchestra...

Ted Medrek, The Boston Herald, May 23, 2004

,
January 18, 2004
Gil Rose never met a score he couldn't tame.

Keith Powers, The Boston Herald, January 18, 2004

,
November 14, 2003
If there were a classical music man of the month, November would surely belong to conductor Gil Rose. Indeed, sometimes it’s hard to imagine how Boston music existed before Rose arrived in town.

T.J. Medrek, The Boston Herald, November 14, 2003

,
October 6, 2003
Gil Rose and his BMOP forces gave it their everything — a detailed, rich, ravishing performance.

Richard Buell, The Boston Globe, October 6, 2003

,
April 28, 2003
…handsomely played by the Boston Modern Orchestra Project under Gil Rose, a hero of the evening.

Richard Dyer, The Boston Globe, April 28, 2003

,
December 1, 2002
This listener will sit in a room any time with Gil Rose conducting.

Keith Powers, The Boston Herald, December 1, 2002

,
October 15, 2002
Artistic Director Gil Rose puts together programs with punch, and he and his ensemble have whacked 20 years off the average age of the usual concert audience.

Richard Dyer, The Boston Globe, October 15, 2002

,
March 1, 2002
All performed flawlessly. And much of the credit for that must surely go to Gil Rose himself — the tall, graceful, soothingly assured figure standing amidst the mayhem, his alchemist's wonder and delight at the transcendent effect of the music's manifold ingredients very much apparent. The fact that such feelings were also rife amongst the audience was unequivocally attested to by the gasps that accompanied the finales of each of the four pieces performed.

Paul Jump, Arts Editor, March 2002

,
January 21, 2002
New music often makes concert-goers run for the emergency exits. But in the hands of experts like Gil Rose and his Boston Modern Orchestra Project, new work is as comforting as a snug blanket in the winter. The full house at Jordan Hall this snowy Saturday evening enjoyed this expertise in a startling program of recent compositions.

Keith Powers, The Boston Herald, January 21, 2002

,
October 6, 2000
Rose's BMOP concert during the convention of the American Symphony Orchestra League last May blew the socks off the jaded delegates.

Richard Dyer, The Boston Globe, October 6, 2000

,
June 23, 2000
The concert by Gil Rose and the Boston Modern Orchestra Project on Saturday morning was sensational; a member of a panel afterward said it may have been the best single concert he had ever heard.

Richard Dyer, The Boston Globe, June 23, 2000

,
March 30, 2000
Mr. Rose and his team filled the music with rich, decisive ensemble colors and magnificent solos. In scores whose dominant expressive position is one of rapture, these musicians were rapturous.

Paul Griffiths, The New York Times, March 30, 2000

,
October 11, 1999
Music director Gil Rose is some kind of genius; his concerts are wildly entertaining, intellectually rigorous, and meaningful. He combines a fanatical attention to detail with a hang-loose insouciance that sets the tone for the entire orchestra. With him and the band, music is a liberated living thing, dancing off the page and outside the box.

Susan Larson, The Boston Globe, October 11, 1999

,
April 21, 1999
Rose, an incisive and forthright conductor.

Donald Rosenberg, The Cleveland Plain Dealer, April 21, 1999

,
February 14, 1998
Gil Rose comes up with the most interesting programs in town, hires the snazziest musicians to play them and conducts knock-out performances... Rose led a chamber-sized band in an iridescent performance... Rose kept our feet to the fire throughout this clenched and questioning work, and the orchestra's playing was simply electrifying.

Susan Larson, The Boston Globe, February 14, 1998

,
February 14, 1998
You're not likely to find local concert programs more unusual, more challenging and more satisfying than those of the Boston Modern Orchestra Project and its music director, Gil Rose.

Ted Medrek, The TAB, February 14, 1998

,
May 19, 1997
The performance directed by Gil Rose was outstanding... directed with sureness of purpose and delight in the wonder of things."

Richard Dyer, The Boston Globe, May 19, 1997

,
November 5, 1996
...music director Gil Rose, a no-nonsense conductor who eschews conductorial choreography in favor of plain competence. He knows the music cold, and never turns his attention from the orchestra. The orchestra, in turn, plays extremely well.

Michael Manning, The Boston Globe, November 5, 1996

,
April 12, 1996
...a gifted music director, Gil Rose. In an ambitious evening Thursday, he proved that his music-making is as lively as his programming ideas.

Ellen Pfeifer, The Boston Herald, April 12, 1996

,
August 2, 2024
Gil Rose and his audacious Boston Modern Orchestra Project ensemble have made it: This delightfully spirited release of ballets by John Alden Carpenter is the 100th to emerge on BMOP/sound, the ensemble’s record label. It’s an astonishing achievement, as much for the fund-raising and other administrative work that has been involved in bringing each of the recordings to life as for the artistic courage and technical accomplishment that mark the music-making on them all.
,
The New York Times

- David Allen, The New York Times on John Alden Carpenter: Complete Ballets, August 2024

August 1, 2024
On "Trouble" members of The Boston Modern Orchestra Project perform music that is refined in its conception, purposeful in its scoring and thoroughly involving as a listening experience. The interaction of instrumentalists animating each piece in these excellent performances communicates a collective dynamic rather than a lone creative voice being granted expression by an orchestra.
Julian Cowley
,
The WIRE Magazine

- Julian Cowley, The WIRE Magazine on Vijay Iyer's "Trouble", August 2024 Issue

July 29, 2024
Whatever your mood, this album has something for you. And I mean it.
Steve Johnson
,
WXXI Classical Radio

- Steve Johnson, WXXI Radio on Ellen Taaffe Zwilich: Symphony No. 5, July 2024

July 1, 2024
The set rewards on multiple levels: in bookending two concerti with a fanfare-like piece and a symphony, the set offers an encompassing portrait, and the BMOP delivers the material with its customary zeal and fastidious attention to detail.
,
Textura

- Textura on Ellen Taaffe Zwilich: Symphony No. 5, July 2024

June 27, 2024
The collection leaves you leave grateful for the Boston Modern Orchestra Project’s usual confident performances, and wanting to hear more from Iyer the composer.
David Weininger
,
The New York Times

- David Weininger, The New York Times on Vijay Iyers' Trouble with the BMOP

June 22, 2024
None of this prepared me for the immense effectiveness of Awakenings, an opera that received its first production at Opera Theatre of St. Louis in 2022 and now reaches listeners through a recording (with a few of the same singers and excellent new ones) thanks to the tireless efforts of Odyssey Opera and its imaginative and enterprising founder-conductor Gil Rose.
Ralph P. Locke
,
The Arts Fuse

- Ralph P. Locke, The Arts Fuse on Tobias Picker's Awakenings, June 2024

June 17, 2024
All of the repertoire is played with intense drama and suavity by the Boston Modern Orchestra Project led by Gil Rose, a champion of living composers with a keen ear for texture, balance and dramatic contrast.
Donald Rosenberg
,
Gramophone

- Donald Rosenberg, Gramophone Magazine on Ellen Taffe Zwilch, Symphony No. 5, July 2024

May 30, 2024
Abetted by abundantly talented soloists and the skillful advocacy and playing of BMOP under Rose, this release is highly recommended.
Christian Carey
,
Sequenza 21

Christian Carey, Sequenza 21 on Nancy Galbraith: Everything Flows, May 2024

May 16, 2024
I cannot imagine a stronger case being made for the score than the one here by Gil Rose and the Boston Modern Orchestra Project.
Nick Barnard
,
Music Web International

- Nick Barnard, Music Web International on Paul Moravec's The Overlook Hotel: The Suite from "The Shining", May 2024

May 1, 2024
Gil Rose conducts with appropriate energy and variety, and the recorded sound is well managed.
Donald Vroon
,
American Record Guide

- Donald Vroom, American Record Guide, May/June 2024 Issue

April 24, 2024
Flutist Sarah Brady and violinist Gabriela Diaz are perfection in their showcase works, while Gil Rose skillfully leads the Boston Modern Orchestra Project throughout.
Kevin Flipski
,
The Flip Side

- Kevin Flipski, The Flip Side on Ellen Taaffe Zwilich—Symphony No. 5 and Orchestral Works, April 2024

April 22, 2024
Moravec's music is performed splendidly by the BMOP and Rose, and once again the company has done the composer and the listening audience a great service in making such material physically available and in such fine form. As the orchestra inches ever closer to its 100th formal release—Moravec's is its ninety-seventh—there's no better time than the present to acknowledge the vital contribution Rose and the ensemble have made to the contemporary music landscape.
,
Textura

- Textura on Paul Moravec's The Overlook Hotel: The Suite from "The Shining," April 2024

January 3, 2024
... the recording offers a superb sampling of the composer's artistry and stylistic approach, especially when the material's delivered with so much enthusiasm by Rose, the BMOP, and the soloists.
,
Textura

- Textura on Joan Tower's Piano Concerto (Homage to Beethoven), January 2024

December 27, 2023
Marc-André Hamelin, the Boston Modern Orchestra Project, and conductor Gil Rose give a dashing performance on this release (BMOP/sound), which also includes three other Tower concertos. Of those, “Red Maple,” for bassoon and strings, shows how delicate and imaginative Tower’s textural palette can be.
David Weininger
,
The Boston Globe

– David Weininger, Boston Globe on Joan Tower's Piano Concerto (Homage to Beethoven), December 2023

December 13, 2023
This album from the dependable Boston Modern Orchestra Project, an orchestra devoted to contemporary music, spotlights four terrific concertos with expert soloists.
Tom Huizenga
,
NPR

– Tom Huizenga, NPR on Joan Tower's Piano Concerto (Homage to Beethoven), December 2023

December 12, 2023
Now on to the new recordings. John Corigliano’s “The Lord of Cries” (Pentatone) and Tobias Picker’s “Awakening” (BMOP/sound) are evidence of the cornucopia of new American operas and some of the best of the recent lot. Each of the works debuted in fully staged productions during the past couple of years, at Santa Fe Opera and Opera Theatre of St. Louis respectively, but both recordings are performed by the versatile and impressive Boston Modern Orchestra Project, conducted by Gil Rose.
Joseph Dalton
,
Times Union

– Joseph Dalton, Times Union on John Corigliano and Mark Adamo's The Lord of Cries and Tobias Picker's Awakenings, December 2023

November 30, 2023
Picker’s score ebbs and flows through a contemporary Romantic vein that he has made his own with a fine ear for instrumentation. Gil Rose, conducting an ensemble with strings, winds, a harp, tuba and piano, relishes a Ravel-like waltz when the patients feel the first benefits of the drug L-Dopa.
Michael Beek
,
BBC Music Magazine

– Michael Beek, BBC Music Magazine on Tobias Picker's Awakenings, November 2023

November 23, 2023
The recording... features the Boston Modern Orchestra Project, timeless and prolific advocates for new American music. Conductor Gil Rose's direction is punchy and dramatically alert, while the recording is appropriately in your face.
Clive Paget
,
Musical America

– Clive Paget, Musical America on John Corigliano and Mark Adamo's The Lord of Cries, November 2023

November 23, 2023
Once again, Boston Modern Orchestra Project under Gil Rose do the honors and prove sure-footed guides, clarifying even the knottiest passages to get to the nub of this richly conceived masterwork.
Clive Paget
,
Musical America

– Clive Paget, Musical America on Tobias Picker's Awakenings, November 2023

November 10, 2023
Gil Rose conducts the Boston Modern Orchestra Project and the Odyssey Opera Chorus in this complex score with firm control and a strong feeling for drama and dread.
Eric Meyers
,
Opera Magazine

– Eric Meyers, Opera Magazine on John Corigliano and Mark Adamo's The Lord of Cries, November 2023

November 1, 2023
Gil Rose conducts the bravura score with a flourish.
“Gil Rose conducts the bravura score with a flourish.” - Opera Now
,
Opera Now

– OperaNow on John Corigliano and Mark Adamo's The Lord of Cries, November 2023

November 1, 2023
Chorus and orchestra respond excellently to the lively direction of Gil Rose, whose consistently sympathetic approach to rare and unusual repertoire should be a model for many conventional opera directors.
Paul Corfield
,
Music Web International

– Paul Corfield Godfrey, Music Web International on John Corigliano and Mark Adamo's The Lord of Cries, November 2023

October 6, 2023
The performances by the Boston Modern Orchestra Project, under their founder Gil Rose, are assured and, as is so often appropriate in Dorman’s music, glistening and vividly recorded... The Dorman is release 90, and ten more are scheduled to appear by December 2023, making a round 100!
Ralph P. Locke
,
The Arts Fuse

– Ralph P. Locke, The Arts Fuse on Avner Dorman's Siklòn, October 2023

September 29, 2023
...Gil Rose and [BMOP] vividly perform Dorman's very vivid compositions.
Michael Schulman
,
The Whole Note Magazine

– Michael Schulman, The Whole Note Magazine on Avner Dorman's Siklón, October 2023

September 27, 2023
In response to the libretto’s blend of paganism and Gothic horror, Corigliano has composed a score that radiates eerie, nocturnal energy... Led by conductor Gil Rose, members of BMOP — often instructed to improvise — conjure the sounds of scurrying, screeching, flitting, and flapping.
Joe Cadegin
,
San Francisco Classical Voice

– Joe Cadagin, San Francisco Classical Voice on John Corigliano and Mark Adamo's The Lord of Cries, September 2023

September 27, 2023
Gil Rose and his Boston Modern Orchestra Project... produce another stunning recording of these seminal works, giving me yet another CD to try to squeeze into the... If there ever was a CD that is a sine qua non for the contemporary music collector, this is it.
David DeBoor Canfield
,
Fanfare Magazine

– David DeBoor Canfield, Fanfare Magazine on Avner Dorman's Siklòn, September 2023

September 8, 2023
In the literary world, this opera would be described as a page-turner... It’s a first-class package on every level...
,
Gramophone

– Gramophone on John Corigliano and Mark Adamo's The Lord of Cries, September 2023

August 4, 2023
BMOP is led with the vigor and commitment that can almost be taken for granted under the visionary leadership of Gil Rose, here joined by the forces of Odyssey Opera. The recording is clear and spacious.
Peter Burwasser
,
The Abso!ute Sound

– Peter Burwasser, The Abso!ute Sound on Anthony Davis' X: The Life and Times of Malcolm X, August 2023

July 11, 2023
[Vanessa Schukis and Anna Baty] could have no better companions than the Boston Modern Orchestra Project with Gil Rose directing.
Christopher Cook
,
BBC Music Magazine

– Christopher Cook, BBC Music Magazine on Lee Hoiby's The Italian Lesson, July 2023

June 6, 2023
"Gil Rose and BMOP now give us three works fresh to the catalogue... Each is punctiliously tracked, section by section, movement by movement... The sound is spectacularly clear – no compromise here.
Rob Barnett
,
MusicWeb International

– Rob Barnett, MusicWeb International on Carlos Surinach's Acrobats of God, June 2023

June 1, 2023
This new recording by Odyssey Opera, taken from a 2018 performance that was the work's first hearing in the US, offers a fuller text... and far better orchestral playing under Gil Rose.
David Shengold
,
Opera Magazine

– David Shengold, Opera Magazine on Charles Gounod's La Reine de Saba, June 2023

May 30, 2023
"...Gil Rose and the Boston Modern Orchestra Project animate all three scores to vivid theatrical life..."
Michael Schulman
,
The WholeNote Magazine

– Michael Schulman, The WholeNote Magazine on Carlos Surinach's Acrobats of God: The Owl and The Pussycat, May 2023

May 12, 2023
Gil Rose has a special knack for finding music that has somehow slipped through the cracks.
Gramophone
,
Gramophone

– Andrew Farach-Colton, Gramophone on Carlos Surinach's Acrobats of God, May 2023

May 4, 2023
Rose and the Boston Modern Orchestra Project deliver sterling performances. All of the accolades they've received for the work they've done since the BMOP's founding in 1996 are wholly deserved. A simple scan of its remarkable discography reveals how much attention has been given to composers whose names might threaten to fade into obscurity were it not for the support they've received from the company.
Textura
,
Textura

– Textura on Carlos Surinach's Acrobats of God, May 2023

December 27, 2022
Restored to fullness, there is a sweep and grandeur to the music that occasionally flags but is largely irresistible.
David Weininger
,
Boston Globe

– David Weininger, Boston Globe on Camille Saint-Saëns' Henry VIII, December 2022

December 22, 2022
In which a young Malcolm Little — not yet surnamed X — receives a tour of Boston while listeners get a sense of what makes Davis one of today’s great opera composers...
Seth Colter Walls
,
NYT

– Seth Colter Walls, NYT on Anthony Davis's X: The Life and Times of Malcolm X, December 2022

November 30, 2022
... this new recording with Odyssey Opera and Boston Modern Orchestra Project led by Gil Rose, is a little weightier, benefits from a tighter libretto, and is generally more involving.
Clive Paget
,
Musical America

– Clive Paget, Musical America on X, The Life and Times of Malcolm X, November 2022

March 29, 2022
Walter Piston won't win any awards for expressing geysers of passion in his music, but he was a true craftsman and these four relatively brief works (the Concerto for Orchestra is the longest, at 14 minutes) have plenty of musical meat on their bones. The Boston Modern Orchestra Project, as usual, plays them very well under Gil Rose's leadership, and the engineering is excellent. A fine release for collectors of good American orchestral music.
David Hurwitz
,
Classics Today

– Dave Hurwitz, Classics Today on Piston Walker's Concerto for Orchestra, March 29, 2022

January 1, 2020
Deservedly awarded the 2020 Grammy for ‘Best Opera Recording,’ Fantastic Mr. Fox is the latest feather in the cap of BMOP and its conductor Gil Rose.
,
Textura

—Textura on Tobias Picker’s: Fantastic Mr. Fox (BMOP/sound 1064, 2020)

November 1, 2019
…25 Best Classical Music tracks of 2019.
,
New York Times

—Seth Colter Walls, New York Times on David Sanford: Black Noise (BMOP/sound 1063, 11/2019)

October 1, 2018
Gil Rose conducts a performance of arresting character, finesse and instrumental prowess.
,

Donald Rosenberg, Gramophone on David del Tredici: Child Alice (BMOP/sound 10563/2018)

December 1, 2017
This exciting recording of four works by Stephen Hartke, written over some 30 years, confirms that he is one of the most distinctive and important living composers.
,

Anthony Tommasini, The New York Times on Stephen Hartke: The Ascent of the Equestrian in a Balloon (BMOP/sound 1052, 12/2017)

February 1, 2017
Rose conducts with a pace and wit
,

Stereophile on Virgil Thomson: Four Saints in Three Acts (BMOP/sound 1049, 2/2017)

February 1, 2017
Gil Rose conducts a performance at once elegant and vibrant.
,

Donald Rosenberg, Gramophone on Virgil Thomson: Four Saints in Three Acts (BMOP/sound 1049, 2/2017)

January 1, 2016
Gil Rose invests each score with incisive and brilliant intensity
,

Donald Rosenberg, Gramophone on Kati Agocs: The Debrecen Passion (BMOP/sound 1046 1/2016)

January 1, 2016
Rose and BMOP aren’t afraid to really let it rip in this music’s most powerful moments.
,

Geoffrey Larson, Second Inversion, King FM 98 on Mason Bates: Mothership (BMOP/sound 1045 1/2016)

December 1, 2015
performances under Gil Rose all the vibrancy that this relentless original music deserves
,

David Weininger, The Boston Globe on Lukas Foss: Complete Symphonies (BMOP/sound 1043 12/2015)

September 1, 2015
Gil Rose and the Boston ensemble raise the sonic roof when the aren’t savoring the delicate pleasures in Crockett’s music
,

Donald Rosenberg, Gramophone on Donald Crockett: Blue Earth (BMOP/sound 1042, 9/2015)

June 1, 2015
Conductor Gil Rose does a masterful job in presenting and pacing these performances.
,

Fanfare on Irving Fine: Complete Orchestral Works (BMOP/sound 1041, 6/2015)

May 1, 2015
Rose and the ensemble have produced a series of terrific albums over the last few years. As far as I’m concerned, this one is their finest yet.
,

The ArtsFuse on Andrew Norman: Play (BMOP/sound 1040, 5/2015)

May 1, 2015
Gil Rose conducts the BMOP in richly detailed and vivid performances.
,

Donald Rosenberg, Gramophone on Elena Ruehr: O’Keeffe Imagines (BMOP/sound 1039, 5/2015)

April 1, 2015
Now there is an essential and rewarding new recording of Fine’s complete orchestra works, performed with expertise, zest and style by the Boston Modern Orchestra Project conducted by Gil Rose … Most important, though, is this arresting account of Fine’s Symphony.
,

Anthony Tommasini, The New York Times on Irving Fine: Complete Orchestral Works (BMOP/sound 1041, 4/2015)

March 1, 2015
As usual the BMOP under Gil Rose turn in fantastic performances.
,

New Music Buff on Irving Fine: Complete Orchestral Works (BMOP/sound 1041, 3/2015)

March 1, 2015
in a brashly confident performance by BMOP and Gil Rose, that most clearly points up Norman’s staggering imagination and talent.
,

David Weininger, The Boston Globe on Andrew Norman: Play (BMOP/sound 1040, 3/2015)

December 1, 2014
2014 Best Classical Music Album Pick.
,

Jeremy Eichler, The Boston Globe on Lou Harrison: La Koro Sutro (BMOP/sound 1037, 12/2014)

July 1, 2014
Under Gil Rose’s baton, the Providence Singers sang with distinction, but the work’s spell was equally cast by the sui generis ensemble of percussion instruments on stage.
,

Jeremy Eichler, The Boston Globe on Lou Harrison: La Koro Sutro (BMOP/sound 1037, 7/2014)

March 1, 2014
Gil Rose and the Boston Modern Orchestra Project once again prove why they are one of the country’s leading contemporary music ensembles. The performances are outstanding and the recording is wonderful.
,

Daniel Coombs, Audiophile Audition on Anthony Davis: Notes from the Underground (BMOP/sound 1036, 3/2014)

February 1, 2014
Gil Rose conducts the Boston Modern Orchestra Project with verve and understanding and the orchestra responds accordingly, idiomatically.
,

Gapplegate Classical on Lewis Spratlan: Apollo and Daphne Variations (BMOP/sound 1035, 2/2014)

January 1, 2014
Bedlam never sounded as good as it does in the hands of Rose and BMOP.
,

Jonathan Blumhofer, Arts Fuse on George Antheil: Ballet Mecanique (BMOP/sound 1033, 1/2014)

December 1, 2013
This collection is a handsome tribute to Babbitt, and the performances by Gil Rose and the Boston Modern Orchestra Project are committed and quite polished in these studio recordings.
,

Clair Sanderson, All Music on Milton Babbitt: All Set (BMOP/sound 1033, 12/2013)

October 1, 2013
Gil Rose conducted to create the beautiful sound.
,

Whirl Magazine on Mathew Rosenblum: Mobius Loop (BMOP/sound 1032, 10/2013)

September 1, 2013
The recordings are staggering in detail, weight, sound stage, and impact.
,

Laurence Vittes, Gramophone on Andy Vores: Goback Goback (BMOP/sound 1030, 9/2013)

August 1, 2013
Mr. Rose and BMOP are with her every step of the way, conjuring musical spells of their own through Druckman’s swirling eddies of sound … throughout the album, Mr. Rose draws playing from BMOP that is basically flawless: the ease with which this orchestra jumps about, stylistically, in contemporary repertoire is simply astonishing.
,

Jonathan Blumhofer, Arts Fuse on Jason Druckman: Lamia (BMOP/sound 1029, 8/2013)

May 1, 2013
Best Albums of 2013.
,

Jeremy Eichler, The Boston Globe on Michael Gandolfi: From the Institutes of Groove (BMOP/sound 1028, 5/2013)

March 1, 2013
The Concerto is presented masterfully under Rose’s baton.
,

Marakay Rogers, Broadway World on Martin Boykan: Orchestral Works (BMOP/sound 1027, 3/2013)

February 1, 2013
NPR Classical’s 10 Favorite Albums of 2013.
,

NPR on Reza Vali: Towards the Endless Plain (BMOP/sound 1026, 2/2013)

February 1, 2013
Throughout the disc, Rose draws playing of wildly brilliant colors and idiomatic spirit from BMOP. This is an orchestra as versatile as any, as they show again and again, and this album is a triumph on all counts.
,

Jonathan Blumhofer, Arts Fuse on Reza Vali: Towards the Endless Plain (BMOP/sound 1026, 2/2013)

December 1, 2012
Rose conducts his fine orchestra with warmth, and the recorded sound is excellent.
,

D Moore, American Record Guide on Paul Moravec: Northern Lights Electric (BMOP/sound 1024, 12/2012)

December 1, 2012
Mr. Rose draws readings from BMOP and soloists that are fully committed and expressively nuanced.
,

Jonathan Blumhofer, Arts Fuse on Paul Moravec: Northern Lights Electric (BMOP/sound 1024, 12/2012)

August 1, 2012
Conductor Gil Rose draws an energetic, prismatic performance from BMOP, and the singing is uniformly excellent.
,

Arts Fuse on John Harbison: Winter’s Tale (BMOP/sound 1023, 8/2012)

April 1, 2012
As usual with Gil Rose and the Boston Modern Orchestra Project, precision and passion magically fuse.
,

Jed Distler, Gramophone on Ziporyn: Big Grenadilla/Mumbai (Cantaloupe 21081, 4/2012)

April 1, 2012
Q2 Music Album of the Week … a full-colored performance from Gil Rose and the Boston Modern Orchestra Project.
,

Olivia Giovetti, WQXR on Ziporyn: Big Grenadilla/Mumbai (Cantaloupe 21081, 4/2012)

November 1, 2011
Excellent work, as usual, by Gil Rose and BMOP.
,

Peter Burswasser, Fanfare on Eric Moe: Kick & Ride (BMOP/sound 1021, 11/2011)

November 1, 2011
Q2 Music Album of the Week.
,

WQXR on Eric Moe: Kick & Ride (BMOP/sound 1021, 11/2011)

October 1, 2011
Rose’s performance of the symphony, giving the music all the time it needs to breathe, is really something that it would have been a shame to miss.
,

Paul Corfield Godfrey, Music Web on Alan Hovhaness: Exile Symphony (BMOP/sound 1020, 10/2011)

October 1, 2010
Grammy Nominee.
,

Steven Mackey: Dreamhouse (BMOP/sound 1019, 10/2010)

August 1, 2010
Best Orchestral Finds of 2010.
,

Classical Lost and Found on Virgil Thomson: Three Pictures (BMOP/sound 1018, 8/2010)

August 1, 2010
The Boston Modern Orchestra Project’s ensemble is a fine group, and Gil Rose does a splendid job of conveying the lush beauty of Thomson’s music.
,

Leonard Link on Virgil Thomson: Three Pictures (BMOP/sound 1018, 8/2010)

June 1, 2010
Top Classical Album of 2010.
,

Jeremy Eichler, The Boston Globe on Lisa Bielawa: In medias res (BMOP/sound 1017, 6/2010)

June 1, 2010
The large concerto for orchestra gets a crackerjack performance under conductor Gil Rose.
,

Joshua Kosman, San Francisco Chronicle on Lisa Bielawa: In medias res (BMOP/sound 1017, 6/2010)

June 1, 2010
Under the baton of Gil Rose, the BMOP glows here.
,

David Wolman, Fanfare on Lisa Bielawa: In medias res (BMOP/sound 1017, 6/2010)

March 1, 2010
BMOP plays beautifully under Gil Rose's inspired direction and the recording has great clarity, presence, and timbral fidelity.
,

Robert Schulslaper, Fanfare on David Rakowski: Winged Contraption (BMOP/sound 1009, 3/2010)

November 1, 2009
"Best CDs of 2009" by The New York Times
,

Derek Bermel: Voices (BMOP/sound 1008, 11/2009)

October 1, 2009
Gil Rose and the Boston Modern Orchestra Project play with an authority that seems directly analogous to that shown by groups such as the London Sinfonietta.
,

Colin Clarke, Fanfare on Elliott Schwartz: Chamber Concertos I-VI (BMOP/sound 1013, 10/2009)

September 1, 2009
Perhaps that’s due to Gil Rose’s emphasis on abrupt contrasts and brisk momentum; he takes the music at a faster pace and makes a good case for retrieving it from the vast and often misunderstood recesses of Cage’s catalog.
,

Art Lange, Fanfare on John Cage: Sixteen Dances (BMOP/sound 1012, 9/2009)

July 1, 2009
Gil Rose guides it all with a firm hand, and the Boston Modern Orchestra Project does a fine job giving us our first glimpse of an intriguing piece.
,

Mark Sebastian Jordan, Music Web International on Eric Sawyer: Our American Cousin (BMOP/sound 1006, 7/2009)

June 1, 2009
Best CDs of 2009" by The Boston Globe
,

Louis Andriessen: La Passione (BMOP/sound 1011, 6/2009)

April 1, 2009
"I can’t praise the performers highly enough … Gil Rose and his Boston Modern Orchestra Project have come up with one of the most consistently interesting series of modern and contemporary music in recent years. This definitely belongs in the winners’ circle.
,

Classical CD Review on John Harbison: Full Moon in March (BMOP/sound 1010, 4/2009)

April 1, 2009
As usual, Gil Rose’s ensemble is up to the task.
,

Allen Gimbel, American Record Guide on John Harbison: Full Moon in March (BMOP/sound 1010, 4/2009)

April 1, 2009
The performances by the Boston Modern Orchestra Project, led by Gil Rose are stellar.
,

Stephen Eddins, Allmusic on John Harbison: Full Moon in March (BMOP/sound 1010, 4/2009)

April 1, 2009
CD Pick of the Week.
,

Brian Wise, WNYC on Michael Gandolfi: Y2K Compliant (BMOP/sound 1002, 4/2009)

April 1, 2009
In sum, an unmissable release.
,

Phillip Scott, Fanfare on Michael Gandolfi: Y2K Compliant (BMOP/sound 1002, 4/2009)

April 1, 2009
…these exuberant and expressive performances provide yet another instance of conductor Gil Rose’s technical command and superb musicianship.
,

Andrew Farach-Colton, Gramophone on Michael Gandolfi: Y2K Compliant (BMOP/sound 1002, 4/2009)

March 1, 2009
Gil Rose and BMOP are sterling in their preparation and superlatively musical. The disc is one of the orchestra's best thus far, and the weightiest and most satisfying.
,

Christian Carey, Sequenza 21 on David Rakowski: Winged Contraption (BMOP/sound 1009, 3/2009)

March 1, 2009
Under Gil Rose's direction, the Boston Modern Orchestra Project has developed into a true virtuoso ensemble.
,

Andrew Farach-Colton, Gramophone on David Rakowski: Winged Contraption (BMOP/sound 1009, 3/2009)

February 1, 2009
Top class.
,

Glyn Pursglove, Music Web International on Derek Bermel: Voices (BMOP/sound 1008, 2/2009)

February 1, 2009
"Best CDs of 2009" by WNYC
,

Derek Bermel: Voices (BMOP/sound 1008, 2/2009)

February 1, 2009
"Best CDs of 2009" by San Jose Mercury News
,

Derek Bermel: Voices (BMOP/sound 1008, 2/2009)

February 1, 2009
“Editor’s Picks” by Emusic.com
,

Derek Bermel: Voices (BMOP/sound 1008, 2/2009)

November 1, 2008
This superb new release…is outstanding…this issue is an outstanding sample of surround sound. The listener is right in the room with the performers in a most natural way. Highly recommended!
,

Classical CD Review on Lukas Foss: The Prairie (BMOP/sound 1007, 11/2008)