“Drama was certainly there in Conlon’s conducting. His sustained emphasis on the ominous D-minor chords that begin the overture felt as much like Verdi as like Mozart — a premonition of La forza del destino, perhaps. And Conlon maintained a skillful balancing act throughout, shifting between moments of buffa humor, soaring lyricism, perfectly balanced ensembles, and emotionally wrenching arias, particularly from Guanqun Yu as Donna Anna and Isabel Leonard as Donna Elvira.” – San Francisco Classical Voice

“James Conlon conducted an LA Opera Orchestra which was highly virtuosic in the strings including principal cellist John Walz in “Batti, Batti,” awash in seductive colors in the woodwinds led by the marvelous bassoons, with the trombones ready when called for. Conlon’s speeds were generally moderate but could switch into high gear at a moment’s notice. He was unfailingly supportive of the singers, vividly alert to the dramatic events, and wrenched everything he could out of the D minor tragedy from the tense, driven overture to the finale as it finally envelops Don Giovanni.” – Bachtrack

“Conductor James Conlon doesn’t miss a beat as he elicits the sounds of the gods from the LA Opera Orchestra…” – Hollywood Progressive

“With the effect of offsetting some of the humor with orchestral gravitas, James Conlon presided over a somewhat broadly-paced, beautifully-shaped rendition of the brilliant score – big-band Mozart in the best sense with especially lovely playing coming out of the wind section.” – Musical America

“James Conlon‘s dynamic conducting was a perfect match for the protagonist’s restless vitality, steering clear of the conventional, ponderous Teutonic interpretation that the score often tends to receive. Conlon brought out the individual character of each aria, ensemble, and instrumental passage. His attention to dynamics, phrasing, and orchestral coloration contributed to a vivid and multi-dimensional portrayal of the opera’s personalities and situations. Conlon’s handling of the ensembles and choral sections was particularly noteworthy. The complex interactions between characters were carefully delineated through the music, and the ensemble scenes were meticulously coordinated.” – Stage and Cinema

“Directed with a socially conscious discernment by Kasper Holten and conducted effortlessly by James Conlon, Wolfgang Amadeus Mozart’s staggering music has never sounded so ripe and righteously rancorous, propelled by its ingeniously cast principals who are given ample time to stun collectively and individually throughout a narrative that also boasts a visually compelling production design. Certainly, audiences have never been more thrilled to be whisked away by an opera that, while as entertaining as it is, also reminds how certain mores have duly expired, superseded by an emotional maturity and courage against sexual manipulation.” – LA Excites

“…the musical standards with maestro James Conlon at the helm remain lofty, even stratospheric…  The orchestra played with a compelling fusion of drama, virtuosity and sweetness, featuring memorable solo flute (“La ci darem la mano”) and cello (“Batti batti”), as well as superb wind playing throughout.” – Classical Voice

“Musically — together with the rest of the cast, all under the astute direction of James Conlon — Mozart was treated to such niceties as the wonderfully heard obbligatos from wind players accompanying the arias. And the chamber-like quality throughout, even in this 3200-seat hall, came across splendidly.”  – LA Tempo