On February 28, Dalia Stasevska made her highly anticipated LA Opera debut, leading the company in a revival of Phelim McDermott's acclaimed production of Philip Glass' 'Akhnaten' featuring the LA Opera Orchestra, LA Opera Chorus, John Holiday, Sun-Ly Pierce, So Young Park, and Zachary James, among others. Ahead of the performance Dalia was profiled by the Los Angeles Times (Click HERE to read) and was a Classical Californians host (Click HERE to listen). Her musical interpretation and direction received rave reviews, please see below for the highlights:

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As for Finnish conductor Dalia Stasevska, making her L.A. opera debut, she keenly keeps score and bounding balls together with cinematic flair. Glass removed violins from the orchestra to achieve a dark, primordial orchestral sound along with pounding percussion. Stasevska finds light, color and action. She conducts for the moment. Picturesque wind instruments suddenly burst forth as if a flock of birds were flying over the pyramids. Solo brass can sound momentous. The percussion pounds like nobody’s business, opening the score up to all the implied emotion and glitter on an over-stuffed stage.
-Los Angeles Times

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Dalia Stasevska, in her house debut, had a sure grip on it. The long, meditative Prelude came out of the chute with a nice groove, the rhythms emphasized with an urgent kick to the accents. The LA Opera Orchestra is audibly more comfortable in Glass’s world, especially with Stasevska leading the charge.
-Musical America

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The dynamic Dalia Stasevska stands tall, with a flamboyant style of conducting reminiscent of Gustavo Dudamel. Never tentative, her leadership was clear from the first assertive pulsation to the opera’s final fading diminuendo. -San Francisco Classical Voice

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Conductor Dalia Stasevska was remarkable in her ability to balance the score’s repetitive structures with its expressiveness, and the orchestra was superb, whether scaling emotional highs or capturing moments of lyric beauty. -Seen and Heard International

‍

Under Dalia Stasevska’s assured baton, LA Opera’s Akhnaten conjures a hypnotic, haunting rendition of Philip Glass’ serpentine score. -Broadway World

‍

Phelim McDermott and conductor Dalia Stasevska (in her company debut) transform Glass’s minimalist masterpiece into a profound meditation on how charisma, ritual, and spectacle forge a cult of personality...Under Stasevska’s precise baton, the orchestra maintains a steady, ritualistic pulse. The music does not rush toward climax; instead, it slowly envelops the listener, mirroring the gradual, total consolidation of Akhnaten’s ideological control.
-Hollywood Times

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Finnish conductor Dalia Stasevska makes her L.A. Opera debut here, and she handles the Glass idiom with assurance, keeping the orchestra's relentless arpeggios from curdling into mere wallpaper while allowing the score's trance-state beauty to fully unfold. It is no small feat. -Classical Voice

‍

One was struck by the admirable buoyancy and characterization of the orchestral playing under Stasevska, whose innate understanding of how to complete in performance the deliberate openness of Glass’s musical text was one of the key factor in making the performance so special. -Adventures in Music

‍

In the pit, Dalia Stasevska gives a reading alert to instrumental detail. The chamber quality of the orchestration emerges clearly, with woodwinds and basset horns threading through the texture and the organ pedal grounding the harmony in something elemental. She allows the larger spans to unfold patiently, trusting the cumulative force of repetition. -Stage & Cinema

‍

The music is gorgeous. Hypnotic, and certainly meditative. The orchestra is impeccable. -Music Connection

‍

On February 28, Dalia Stasevska made her highly anticipated LA Opera debut, leading the company in a revival of Phelim McDermott's acclaimed production of Philip Glass' 'Akhnaten' featuring the LA Opera Orchestra, LA Opera Chorus, John Holiday, Sun-Ly Pierce, So Young Park, and Zachary James, among others. Ahead of the performance Dalia was profiled by the Los Angeles Times (Click HERE to read) and was a Classical Californians host (Click HERE to listen). Her musical interpretation and direction received rave reviews, please see below for the highlights:

‍

As for Finnish conductor Dalia Stasevska, making her L.A. opera debut, she keenly keeps score and bounding balls together with cinematic flair. Glass removed violins from the orchestra to achieve a dark, primordial orchestral sound along with pounding percussion. Stasevska finds light, color and action. She conducts for the moment. Picturesque wind instruments suddenly burst forth as if a flock of birds were flying over the pyramids. Solo brass can sound momentous. The percussion pounds like nobody’s business, opening the score up to all the implied emotion and glitter on an over-stuffed stage.
-Los Angeles Times

‍

Dalia Stasevska, in her house debut, had a sure grip on it. The long, meditative Prelude came out of the chute with a nice groove, the rhythms emphasized with an urgent kick to the accents. The LA Opera Orchestra is audibly more comfortable in Glass’s world, especially with Stasevska leading the charge.
-Musical America

‍

The dynamic Dalia Stasevska stands tall, with a flamboyant style of conducting reminiscent of Gustavo Dudamel. Never tentative, her leadership was clear from the first assertive pulsation to the opera’s final fading diminuendo. -San Francisco Classical Voice

‍

Conductor Dalia Stasevska was remarkable in her ability to balance the score’s repetitive structures with its expressiveness, and the orchestra was superb, whether scaling emotional highs or capturing moments of lyric beauty. -Seen and Heard International

‍

Under Dalia Stasevska’s assured baton, LA Opera’s Akhnaten conjures a hypnotic, haunting rendition of Philip Glass’ serpentine score. -Broadway World

‍

Phelim McDermott and conductor Dalia Stasevska (in her company debut) transform Glass’s minimalist masterpiece into a profound meditation on how charisma, ritual, and spectacle forge a cult of personality...Under Stasevska’s precise baton, the orchestra maintains a steady, ritualistic pulse. The music does not rush toward climax; instead, it slowly envelops the listener, mirroring the gradual, total consolidation of Akhnaten’s ideological control.
-Hollywood Times

‍

Finnish conductor Dalia Stasevska makes her L.A. Opera debut here, and she handles the Glass idiom with assurance, keeping the orchestra's relentless arpeggios from curdling into mere wallpaper while allowing the score's trance-state beauty to fully unfold. It is no small feat. -Classical Voice

‍

One was struck by the admirable buoyancy and characterization of the orchestral playing under Stasevska, whose innate understanding of how to complete in performance the deliberate openness of Glass’s musical text was one of the key factor in making the performance so special. -Adventures in Music

‍

In the pit, Dalia Stasevska gives a reading alert to instrumental detail. The chamber quality of the orchestration emerges clearly, with woodwinds and basset horns threading through the texture and the organ pedal grounding the harmony in something elemental. She allows the larger spans to unfold patiently, trusting the cumulative force of repetition. -Stage & Cinema

‍

The music is gorgeous. Hypnotic, and certainly meditative. The orchestra is impeccable. -Music Connection

‍

On February 28, Dalia Stasevska made her highly anticipated LA Opera debut, leading the company in a revival of Phelim McDermott's acclaimed production of Philip Glass' 'Akhnaten' featuring the LA Opera Orchestra, LA Opera Chorus, John Holiday, Sun-Ly Pierce, So Young Park, and Zachary James, among others. Ahead of the performance Dalia was profiled by the Los Angeles Times (Click HERE to read) and was a Classical Californians host (Click HERE to listen). Her musical interpretation and direction received rave reviews, please see below for the highlights:

‍

As for Finnish conductor Dalia Stasevska, making her L.A. opera debut, she keenly keeps score and bounding balls together with cinematic flair. Glass removed violins from the orchestra to achieve a dark, primordial orchestral sound along with pounding percussion. Stasevska finds light, color and action. She conducts for the moment. Picturesque wind instruments suddenly burst forth as if a flock of birds were flying over the pyramids. Solo brass can sound momentous. The percussion pounds like nobody’s business, opening the score up to all the implied emotion and glitter on an over-stuffed stage.
-Los Angeles Times

‍

Dalia Stasevska, in her house debut, had a sure grip on it. The long, meditative Prelude came out of the chute with a nice groove, the rhythms emphasized with an urgent kick to the accents. The LA Opera Orchestra is audibly more comfortable in Glass’s world, especially with Stasevska leading the charge.
-Musical America

‍

The dynamic Dalia Stasevska stands tall, with a flamboyant style of conducting reminiscent of Gustavo Dudamel. Never tentative, her leadership was clear from the first assertive pulsation to the opera’s final fading diminuendo. -San Francisco Classical Voice

‍

Conductor Dalia Stasevska was remarkable in her ability to balance the score’s repetitive structures with its expressiveness, and the orchestra was superb, whether scaling emotional highs or capturing moments of lyric beauty. -Seen and Heard International

‍

Under Dalia Stasevska’s assured baton, LA Opera’s Akhnaten conjures a hypnotic, haunting rendition of Philip Glass’ serpentine score. -Broadway World

‍

Phelim McDermott and conductor Dalia Stasevska (in her company debut) transform Glass’s minimalist masterpiece into a profound meditation on how charisma, ritual, and spectacle forge a cult of personality...Under Stasevska’s precise baton, the orchestra maintains a steady, ritualistic pulse. The music does not rush toward climax; instead, it slowly envelops the listener, mirroring the gradual, total consolidation of Akhnaten’s ideological control.
-Hollywood Times

‍

Finnish conductor Dalia Stasevska makes her L.A. Opera debut here, and she handles the Glass idiom with assurance, keeping the orchestra's relentless arpeggios from curdling into mere wallpaper while allowing the score's trance-state beauty to fully unfold. It is no small feat. -Classical Voice

‍

One was struck by the admirable buoyancy and characterization of the orchestral playing under Stasevska, whose innate understanding of how to complete in performance the deliberate openness of Glass’s musical text was one of the key factor in making the performance so special. -Adventures in Music

‍

In the pit, Dalia Stasevska gives a reading alert to instrumental detail. The chamber quality of the orchestration emerges clearly, with woodwinds and basset horns threading through the texture and the organ pedal grounding the harmony in something elemental. She allows the larger spans to unfold patiently, trusting the cumulative force of repetition. -Stage & Cinema

‍

The music is gorgeous. Hypnotic, and certainly meditative. The orchestra is impeccable. -Music Connection

‍

On February 28, Dalia Stasevska made her highly anticipated LA Opera debut, leading the company in a revival of Phelim McDermott's acclaimed production of Philip Glass' 'Akhnaten' featuring the LA Opera Orchestra, LA Opera Chorus, John Holiday, Sun-Ly Pierce, So Young Park, and Zachary James, among others. Ahead of the performance Dalia was profiled by the Los Angeles Times (Click HERE to read) and was a Classical Californians host (Click HERE to listen). Her musical interpretation and direction received rave reviews, please see below for the highlights:

‍

As for Finnish conductor Dalia Stasevska, making her L.A. opera debut, she keenly keeps score and bounding balls together with cinematic flair. Glass removed violins from the orchestra to achieve a dark, primordial orchestral sound along with pounding percussion. Stasevska finds light, color and action. She conducts for the moment. Picturesque wind instruments suddenly burst forth as if a flock of birds were flying over the pyramids. Solo brass can sound momentous. The percussion pounds like nobody’s business, opening the score up to all the implied emotion and glitter on an over-stuffed stage.
-Los Angeles Times

‍

Dalia Stasevska, in her house debut, had a sure grip on it. The long, meditative Prelude came out of the chute with a nice groove, the rhythms emphasized with an urgent kick to the accents. The LA Opera Orchestra is audibly more comfortable in Glass’s world, especially with Stasevska leading the charge.
-Musical America

‍

The dynamic Dalia Stasevska stands tall, with a flamboyant style of conducting reminiscent of Gustavo Dudamel. Never tentative, her leadership was clear from the first assertive pulsation to the opera’s final fading diminuendo. -San Francisco Classical Voice

‍

Conductor Dalia Stasevska was remarkable in her ability to balance the score’s repetitive structures with its expressiveness, and the orchestra was superb, whether scaling emotional highs or capturing moments of lyric beauty. -Seen and Heard International

‍

Under Dalia Stasevska’s assured baton, LA Opera’s Akhnaten conjures a hypnotic, haunting rendition of Philip Glass’ serpentine score. -Broadway World

‍

Phelim McDermott and conductor Dalia Stasevska (in her company debut) transform Glass’s minimalist masterpiece into a profound meditation on how charisma, ritual, and spectacle forge a cult of personality...Under Stasevska’s precise baton, the orchestra maintains a steady, ritualistic pulse. The music does not rush toward climax; instead, it slowly envelops the listener, mirroring the gradual, total consolidation of Akhnaten’s ideological control.
-Hollywood Times

‍

Finnish conductor Dalia Stasevska makes her L.A. Opera debut here, and she handles the Glass idiom with assurance, keeping the orchestra's relentless arpeggios from curdling into mere wallpaper while allowing the score's trance-state beauty to fully unfold. It is no small feat. -Classical Voice

‍

One was struck by the admirable buoyancy and characterization of the orchestral playing under Stasevska, whose innate understanding of how to complete in performance the deliberate openness of Glass’s musical text was one of the key factor in making the performance so special. -Adventures in Music

‍

In the pit, Dalia Stasevska gives a reading alert to instrumental detail. The chamber quality of the orchestration emerges clearly, with woodwinds and basset horns threading through the texture and the organ pedal grounding the harmony in something elemental. She allows the larger spans to unfold patiently, trusting the cumulative force of repetition. -Stage & Cinema

‍

The music is gorgeous. Hypnotic, and certainly meditative. The orchestra is impeccable. -Music Connection

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