JOSHUA HORSCH

CONDUCTOR

Copyright Joshua Horsch, 2018.

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PRESS

"Steady acumen and considerable aplomb..."

"In the pit, Joshua Horsch conducted with steady acumen and considerable aplomb.  Maestro Horsch has helmed this piece before and it shows in his well-controlled, colorful reading.  The orchestration calls for substantial exposed playing from a small band of (for all intents) soloists, and the conductor drew a highly satisfying ensemble reading from his highly skilled instrumentalists.  Horsch ably collaborated with his quartet of singers with a completely realized orchestral partnership."

James Sohre, Opera Today

Conductor Josh Horsch...elicited a shimmering serenity..."

"Conductor Joshua Horssch not only found all the colors of the blatant Americana in Copland's folksy writing, but also elicited a shimmering serenty inherent in so much of the score's luminous atmosphere.  Thanks to the placement of monitors (hidden in wooden crates around the perimeter), Maestro Horsch maintained awesome control of his disparate forces, whether in the jaunty, playful story-telling passages, or the inexorable build-up of the unfolding "Promise of Living."  The instrumentalists rewarded him with a flavorful, idiomatic reading."

James Sohre, Opera Today

H.M.S. Pinafore, Tri-Cities Opera

"The orchestra was light and together under the direction of Joshua Horsch..."

"Joshua Horsch...and the orchestra made this performance a breath of fresh air and pure entertainment."

"Joshua Horsch, Joshua Borths, the cast, and the orchestra made this performance a breath of fresh air and pure entertainment, amidst a town bursting at the seams with glitz and glamour, star power and media frenzy over the latest dayclub opening.  L'elisir d'amore was an evening of delightful singing and engaging staging, displaying a high level of artistic excellence throughout."

Michelle Latour, Opera Today

"...no note was ever lost."

"The comedy moved at a lightening pace and no aspect was overlooked.  Maestro Horsch held stage and pit together so that no note was ever lost."

 

Maria Nockin, Broadway World Review