| Gary Thor Wedow |
Introduction “The opera was delightfully played by a first-rate chamber orchestra under the direction of Gary Thor Wedow. Years in opera houses have taught him how to make this music theatrical – and how to accommodate singers while challenging them. His work was knowledgeable, vital and full of the smell of candlelight and greasepaint.” Boston Globe – Richard Dyer Biography
Conductor Gary Thor Wedow has established an enviable reputation for dramatically exciting and historically informed performances with opera companies, festivals and choral organizations throughout North America. Hailed for ‘hot music making’ by the Baltimore Sun and ‘convincingly elegant period style’ in Opera News, his most recent successes include Die Zauberflöte for Seattle Opera, Le donne curiose for Wolf Trap Opera and Agrippina for Boston Lyric Opera. A favorite of Seattle audiences, he has often appeared with the Seattle Symphony, most recently for an opera highlights festival, and his next assignment there is Orphée by Gluck. The current season also includes Messiah with the Alabama Symphony, Don Giovanni for the Juilliard School and Telemann’s Orpheus for New York City Opera.
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Engaged ByAustin Lyric Opera Reviews"Conductor Gary Thor Wedow led the orchestra in a vibrant and incisive performance, and the continuo accompaniment was impeccable, providing a solid musical underpinning to the proceedings while amplifying the emotional content of each scene." "Conductor Gary Thor Wedow led a vibrant performance, skillfully balancing the voices and the orchestra." "The conductor Gary Thor Wedow meets the challenge of Mozart's jocular drama with orchestral colors that are sometimes dark, sometimes laughing and ultimately transcendent." “This was hot music-making, aided every step of the way by conductor Gary Thor Wedow, who maintained a telling pulse even as he allowed for exquisite, unhurried molding of the most lyrical passages.” “The opera was delightfully played by a first-rate chamber orchestra under the direction of Gary Thor Wedow. Years in opera houses have taught him how to make this music theatrical – and how to accommodate singers while challenging them. His work was knowledgeable, vital and full of the smell of candlelight and greasepaint.” “Wedow maintained a spirited pace and a unity of purpose among these divergent elements.” Berkshire Eagle – John Felton “Gary Thor Wedow, led this section sensitively, as he did the rest of the score and the City Opera Orchestra brought the music across with practical ease.” “Gary Thor Wedow led Sullivan’s score superbly.” ( New York City Opera,Patience) “Conductor Gary Thor Wedow was the unifying force and led from the harpsichord with pace and dramatic acuity.” Tribune – Mark Kanny“Conductor Gary Thor Wedow presided deftly over a crackerjack ensemble…managed to create more textural variety than might have seemed possible.” San Francisco Chronicle – Joshua Kosman“…with Gary Thor Wedow conducting with a fine sense of Baroque grandeur and zestiness.” The New York Times – Allan Kozinn“ Gary Wedow led his ensemble of seven players and eight singers in a performance of near seamless aural beauty.” (Giasone) The Globe and Mail – Urjo Kureda“Conductor Gary Thor Wedow (also making his company debut) led the Berkshire Opera orchestra, situated on stage behind the singers. He paced the succession of recitatives and arias perfectly and indulged the dance-like inflection of the music’s phrasing to good effect.” (RINALDO) Clifton J. Noble Jr.“…beguilingly moulded instrumentally by a ten-player ensemble conducted by Gary Thor Wedow.” Canadian Opera Company – (GUILIO CESARE IN EGITTO) The Globe and Mail – Urjo Kareda“Under Gary Thor Wedow’s expert direction…convincingly assimilated the proper style of baroque singing.” Canadian Opera Company – (GIULIO CESARE IN EGITTO) National Post – Tamara Bernstein“Fine Conducting, Imaginative Realization…Gary Thor Wedow deserves tremendous credit both for his work with the singers and for his fine realization of the score, which includes an absorbing (intentionally anachronistic) array of percussion and some additional choral participation in places such as Calisto’s echo aria.” Michael Zwiebach |