[Brookline Symphony] The orchestra showed refinement, breadth of dynamics, and exciting musicality under the baton of Andrew Altenbach. His confidence, clear beat, and expressive gestures made for music making of the first rank. It may well be that Altenbach’s extensive opera conducting has contributed to his ability to allow the music to breathe, but whatever the reason, the result was outstanding.
[Sumeida’s Song] Music Director Andrew Altenbach led the complex score with confidence. Boston Opera Collaborative deserves enormous credit for bringing this production here to Boston.
[Rape of Lucretia] Britten’s resourcesful and often inventive orchestration, in conjunction with Andrew Altenbach’s supple direction, brought out bold textures and an ample sound…Altenbach navigated the starkly contrasted music of the chorus and the boisterous tavern scene with impressive fluidity.
[Sumeida’s Song] High praise for an opera company doing remarkable things. Andrew Altenbach was the accomplished conductor who held together Fairouz’s diverse influence – lavish orchestral color and spare atonality, Arabic music, Strauss, and Berg – and emerge with Fairouz’s distinctive musical personality
[La Cenerentola] It didn’t take long for Grand Harmonie to put its stamp on the three-hour production Thursday night. This local outfit, which has just concluded its first season, plays classical and Romantic music — Mozart to Brahms — on period instruments. Led by BOC artistic director Andrew Altenbach, the 24-piece orchestra gave the Overture a raw, rustic flavor, with piquant winds and horns. And Altenbach built the drama with such point and purpose, it was as if Rossini were creating a new art form.
[Die Zauberflöte] Conductor Andrew Altenbach and the orchestra set the standard with a neat and lively overture…the cohesion and precision of the singers with the orchestra was impressive
[Minnesota Bach Ensemble] Andrew Altenbach has created a viable niche for itself in Twin Cities musical life, presenting lively, thoughtfully-programmed concerts before a sizable and growing audience. He favors transparent textures, relatively fast tempos, strong beats and restrained vibrato. The special bounce and lilt he enforced on the first movement of the Brandenburg Concerto No. 4, which opened the concert, suggested, too, that he’s aware of how important dance rhythms are to Bach’s music.
[Le nozze di Figaro] Andrew Altenbach presented a spruce touch of this inimitable score. He attended not only to the detail of the writing – the inner parts and the manifold subtle ties of scoring – but equally to the music’s line and lyricism.
La bohème shined with brilliant delivery and grace. Support from the pit was sympathetic. Andrew Altenbach’s conducting of JPO emphasized details and care for the audibility of the text. Some superior playing came to the fore. Voices were allowed to soar in melodious arcs.