“Conlon launched into the overture, which is first-rate Mozart, with a shot of adrenaline and fizz that propelled him and the L.A. Opera Orchestra throughout the evening. His conducting and the orchestra’s playing conveyed audible delight at exploring a whole new corner of Mozart.” – LA Times
“The orchestral performance, under James Conlon, was on a very high level: clean, lively, and well balanced. His tempi were convincingly chosen: Each number was given its distinct musical character, including the expressive clarinet solo in “Parto” and the basset-horn solo in “Non Piu di Fiori”.” – Classical Voice
“[Conlon] flawlessly captures Mozart’s spirit and orchestrations, insofar that this is the closest anyone will ever get to the 18th-century phenom. Attendees are taken for a historic ride once the celebratory overture resounds, intermixed with hints of distress, giving way to recitatives, arias, duets, and trios that build upon one another, characterized by harmony and internal conflict. Conlon, like the true helmsman he is, urges a flurry of important aural emotions from his orchestra, which thrillingly enfold the drama.” – LA Excites
““Clockwork consistency” is synonymous with James Conlon, and it remains that way in this La clemenza di Tito.” – Concerto Net
“Maestro James Conlon kept the orchestra going with a lot of energy and a fair amount of crispness. The overture was lively and the brass clear. The clarinet has a lot of beautiful soli and did very well with all his exposed music.” – The Opera Tattler
“Music director James Conlon brings his joyful wizardry to the pit, conducting the crack LA Opera orchestra with command and nuance, and allowing Mozart’s highlighting of the harpsichord and reeds to take center stage when appropriate.” – Los Angeles Blade
Mozart’s “The Clemency of Titus” runs through March 24 and tickets are available online.
For more rave reviews click HERE.