December 18, 2016

Philadelphia Orchestra, Philadelphia Verizon Hall

“(…) she has clearly worked out not only a cogent reading, but also how to deploy traditional orchestral forces in plausible (if not so-called “authentic”) performance style. Here, she managed to hold in check the famed Philadelphia string sound when needed to emphasize the singing, but also gave it free rein in the overture and “Pifa,” and at apt moments behind the the splendidly agile, tonally magisterial and dramatically eloquent baritone Stephen Powell.”
Classical Voice North America

October 2, 2016

Orfeo 55, London Wigmore Hall

“Everything about this Handel concert was remarkable. Nathalie Stutzmann both conducted and sung in the arias. I have never heard of this combination before, but I can say, emphatically, that this duel involvement in the music produced a conviction and dialogue rarely heard. Stutzmann’s singing was remarkable in the way it adapted itself to the tonality/mood of each aria. Orfeo 55 (I counted ten players including organ and harpsichord) were superb with playing Handel could only have imagined!”
Seen and Heard Internatinal

September 22-24, 2016

São Paulo State Symphony Orchestra, Sala São Paulo

“Yesterday (…) became even more evident the work she is developing with the orchestra. The Osesp played wonderfully well, since the first bars of the opening of Le Roi d’Ys by Edouard Lalo (…). It prepared the climate for the second piece in the evening, the popular Piano Concerto by Schumann. Besides the quality of the orchestra conducted by Stutzmann, the audience was electrified by solos of pianist Khatia Buniatishvili, which in addition to precision and technical mastery demonstrated a range of tone and interpretive richness. (…) It was supposed to be the climax of the night and follow up in the second part, a light and warm end with the Symphony No. 1 by Bizet. But the work in the hands of Stutzmann was far beyond that. With great musical intelligence, she emphasized the classic character of the first movement and the profound lyricism of the second, in addition to revealing the operatic echoes of the author of Carmen in the final movement of the symphony.”
Concerto

August 7, 2016

Verbier Festival Orchestra/ Michael Tilson Thomas, Verbier Festival

“Quand de la harpe suivie de l’effleurement des violoncelles surgit l’étrange voix de Nathalie Stuzmann, l’émotion est à son comble. Lançant son O Mensch ! Gib acht ! à l’unisson des cors et des trombones, la contralto, elle aussi transportée dans le bouleversement de cette musique, se mêle à l’orchestre pour en être un autre instrument confondu.”
ResMusica

April 22-24, 2016

St. Louis Symphony Orchestra, St. Louis Powell Hall

“Her rendition of Dvorák’s Symphony No. 7 exuded insight, intelligence, strategy, and the kind of heat one associates with Gustavo Dudamel.”
The Philadelphia Inquirer

“It’s easy to see why she’s met with such success. Stutzmann is spirited and engaged, seems easy to follow, and has a good feel for finding the right tempo. She shares well with others: On Friday morning, at the conclusion of the curtain-raiser, Felix Mendelssohn’s “The Hebrides (Fingal’s Cave),” she waited to give a well-deserved solo bow to principal clarinet Scott Andrews before turning around to acknowledge the applause herself. I can’t remember another time when I’ve witnessed that. This was a welcome debut in every way.”
St. Louis Post-Dispatch

February 28, 2016

RTÉ National Symphony Orchestra, Dublin National Concert Hall

“(…) I experienced such a glorious revelation. This was thanks in large part to the superlative musicianship of conductor, Nathalie Stutzmann conducting a responsive NSO.”

Wagner – Overture to Tannhäuser:
“A beloved operatic overture, Wagner’s Tannhäuser is full of glorious tunes which Queen Victoria, when she heard it for the first time, described as “quite overpowering […] and in parts wild”. Stutzmann downplayed the wild parts as she sought to bring out the inner subtleties of the gossamer music of Venus, drawing expressively shaped phrases and warm sounds from the string section. (…) Stutzmann deliberately held back the crescendos to great effect while the overall lighter texture of the overture allowed the merriment to show through.”

Wagner – Prélude and Liebestod:
“Stutzmann delicately crafted the musical line as the crescendo ebbed from section of the orchestra to the other. This was a slow, seductive reading with the melody wooing us, overpowering us as it lingered on exquisite dissonances producing a frisson of desire. (…) I credit Stutzmann with this superlative interpretation as she dared the cellos to take a fraction of extra time and as she drew a smouldering antiphonal response between woodwind and strings.”

Bachtrack