‘KLASSIK MUSIK – opera and dance’
‘The orchestra (of the Norwegian Opera House) under the excellent management of Andrea Quinn, gives Tchaikovsky all the honour. In the tuttis, the entire orchestra fills every phrase with force and volume. The orchestra builds and underlines the choreography and encourages the dancers to perform their very best…’
(Cranko’s ‘Onegin’ Tchaikovsky/Kurt-Heinz Stolze February 2018)
‘SANGER Van GRAVEN’
‘Andrea Quinn, a thrilling guest conductor at Norwegian Ballet (Balanchine programme), gives great character and expression to the music……’
(‘Magnus Andersson – Oct 2016)
DUTCH NATIONAL BALLET
‘The excellent level makes this production of ‘Jewels’ a showcase of the talents of the Company,accompanied by the orchestra of the ballet,under the baton of Andrea Quinn’
(‘Balanchine’s ‘Jewels’ February 2015)
Danse Magazine (translated from French)
‘Above all,the interpretation of ‘Rubies’ is of a lightness and musicality that makes the show a must see’ Telegraaf
(‘Balanchine’s ‘Jewels’ February 2015)
SKANES DANCE THEATRE, Malmo and Stockholm
‘An all-round experience. Not dance and music,not dance that attempts to relate to the music,but dance AS music….Skanes Dansteater’s ensemble perform to an on-stage orchestra under the lithe and distinct leadership of Andrea Quinn’
‘Kvarnstrom emerges as a symphonic choreographer,accompanied by Jonas Nordberg and the Malmo Opera Orchestra under the eminent leadership of Andrea Quinn…DOUBLEtake is one of this year’s greatest dance happenings.’Svenska Dagbladet
Sweden November 2014
DUTCH NATIONAL BALLET
‘The Dutch National Ballet Orchestra, conducted by Andrea Quinn,gave a masterly performance of the music by Bizet, Stravinsky and Tchaikovsky, which definitely contributed to the beautiful evening.’
(On Stage, February 2013)
‘Quinn conducts with illustrious power and it seems as if every tone is anchored in her body. She immerses herself with the musical score in an exceptionally visual way….’
(Jonkoping Posten April 2013)
Wartime Reflections is an ambitious programme
. . . the very talented Andrea Quinn. The real gem of the evening was Vaughan Williams Symphony No. 4, a harmonically diverse and rhymically complex work that showed both maestra (Andrea Quinn) and orchestra at their artistic best.
(Toledo Blade, May 2012)
NORTH CAROLINA SYMPHONY ORCHESTRA
Warmth and verve mark Quinn’s conducting
Quinn wields her baton with exuberant confidence, precise in her cues and intense in her body language, vividly responding to each work’s rhythms and emotions. Even when leaping straight up from the podium to emphasize a climax, such gestures seem organic, rather than showy, exuding warmth and sincerity that communicate directly to the audience.
(Raleigh News & Observer, Jan 2011)
WUPPERTAL SYMPHONY ORCHESTRA
Quinn’s enthusiasm for the music is admirably and fully communicated to both audience and orchestra alike. It is hardly surprising that this gripping conductor – plainly no ordinary woman -put Joan Tower’s passionate Fanfare for an Uncommon Woman on the programme. Barber’s First Symphony was magnificent and provided a brilliant close to this original, perhaps even groundbreaking symphony concert.
(Wuppertaler Kultur, Feb.2009)
RECORDING OF SAINT-SAENS PIANO CONCERTOS 2 and 5
Brigitte Engerer/Ensemble Orchestral de Paris/Mirare
Tempo and excellence are also terms to describe the Ensemble Orchestral de Paris’s interpretation under the strict yet sensitive baton of Andrea Quinn, who brings out the subtle balancing between the various sections of her orchestra and the solo instrument. This was a highly artistic treatment of a major Saint-Saens work and a supreme moment of music and emotion. This is a version that can be ranked alongside the greatest recordings, such as Richter, to give but one example.
(Res.Musica.com, Jan. 2009)
RECORDING OF PECOU’S L’OISEAU INNUMERABLE
Alexandre Tharaud/Ensemble Orchestral de Paris/Harmonia Mundi
Fascinating, eerie stuff . . . exciting and mountingly purposeful . . . Andrea Quinn and the Ensemble Orchestral de Paris give themselves fully to the uncanny sound-world of the concerto.
(International Record Review, July/Aug 2009)
Andrea Quinn in ConcertSYMPHONY ORCHESTRA OF NORRLANDS OPERA
Norrlands Opera Symphony Orchestra performed what is possibly Stravinsky’s most famous ballet, The Firebird. Once again finely-balanced yet erruptive orchestral playing was evident, intellectually refined, thanks to Andrea Quinn’s secure handling.
(Vasterbotten Courier, April 2007)
…a remarkable orchestral concert in which the orchestral playing was so well-balanced and inspirationally performed that it was a delight. Andrea Quinn here enjoyed a genuine triumph with an orchestra that has undergone such a positive development over recent years.
(Vasterbotten Courier, Dec. 2006)
Andrea Quinn succeeded…in the excellent detail work and the ability to hold the performance together, but also in her remarkably sympathetic attitude to her role as leader of the orchestra and musical director…In the magnificent finale, Andrea Quinn worked up the music to a tremendous climax. There is no doubt that the audience is going to love our new musical director and chief conductor of the Norrlands Opera Symphony Orchestra.
(Vasterbotten Courier, Nov. 2005)
Andrea Quinn is a phenomenon! Her baton technique is fascinating, in itself varied and elegant but also effective and distinctive. She infuses force and concentration into the slightest detail, allowing her both to direct the ensemble playing where she wants to and at the same time to motivate the musicians to do their utmost in terms of quality and lyrical musical idiom. What really defines her interpretation of Brahms is her meticulous sense of expansive dynamics, which makes the symphony a magnificent experience
(Vasterbotten Courier, Nov. 2004)
ORCHESTRE DE BRETAGNE
Finally the evening ended with Beethoven’s famous Fifth Symphony conducted from memory by Andrea Quinn, an astonishing woman whose leadership is touched by both a great femininity and also a real energy. In short, the sort of concert which one would like to see more often.
(Ouest France, Nov. 2006)
Performance WINTERTHUR COLLEGIUM MUSICUM
Quinn conducted Igor Stravinsky’s neo-classical Concerto for Strings with great feeling for the varying rhythm patters and tonal textures, yet allowing herself the odd humorous touch. This merry playing contrasted strongly with the revolutionary seriousness of Beethoven’s Fifth Symphony. From the very beginning Quinn emphasised the way forward. She may have allowed the brass the bellow lustily, but still one could perceive the moving interwoven melodies.
(Neue Zurcher Zeitung, June 2006)
For Schumann’s “Rhenish Symphony” the conductor then took full advantage of her conducting and artistic abilities, and the orchestra followed faithfully: there was in any case clean ensemble playing, but also they proved exemplary in the development of the dynamic curves, the rhythmic features and the ceremonial nature of the fourth movement. And the magnificent intensification of the finale led to a crowning conclusion.
(Der Landbote, March 2005)
NEW YORK CITY BALLET
‘At City Ballet Some Particularly Catch the Eye’
The City Ballet’s Music Director since 2001, Andrea Quinn has presided over a sharp upgrading of the sometimes disturbing sounds that used to emerge from the New York State Theater pit during City Ballet seasons….she is scheduled to conduct Tuesday’s opening night and a new Martins Ballet..(commissioned with the Julliard School) by Christopher Rouse and a host of other repertory as well. But hear her when you can. Most unfortunately, Ms. Quinn will be relinquishing her City Ballet post at the end of the spring season to return to her native England for family reasons.’
(New York Times December 30th 2005)
Andrea Quinn, the evening’s conductor, and the City Ballet orchestra, made the sumptuous Tchaikovsky score sing.
(New York Times, Nov. 2005)
As different as they are, Apollo, Orpheus and Agon are neo-classical ballets, revealing the essential Balanchine. Andrea Quinn was a splendid conductor throughout the evening, especially bringing out the epigrammatic wit of Balanchine’s tensile choreography in Agon.
(New York Times, June 2004)
NEW MEXICO SYMPHONY ORCHESTRA
Andrea Quinn hit the stage running with a thrillingly breakneck tempo to begin Beethoven’s Symphony No. 2. The rest of the work followed suit…none of the fine detail was lost, nor did she ask of the orchestra anything it could not produce. The result was a thoroughly refreshing take on a standard work.
(Albuquerque Journal, Nov. 2005)
GISELLE AT THE TEATRO SAN CARLO, NAPLES
The conducting of the orchestra, entrusted to the baton of Andrea Quinn, was also of high quality and importance, achieving to a large extent the reflection in style and temperament of the colours that characterise the score of Adolphe Adam. There was enthusiastic applause at the fall of the curtain.
(Napolipui, Oct. 2004)
NEW YORK CITY BALLET
‘Andrea Quinn did a fabulous job of conducting John Adams difficult score (Harmonielehre)…’
(New York Times June 2002)
New York City Ballet, The Nutcracker
THE ROYAL BALLET, CINDRELLA (Prokofiev)
‘The third star of the evening though, was Andrea Quinn,whose superb conducting few ballet goers can even dream of’
(The Spectator, January 1999)
THE ROYAL BALLET, ONDINE (Hans Werner Henze)
…And under the baton of Andrea Quinn the Royal Opera House band sounded glorious’
(The Independent on Sunday, July 1999)