October 25, 2019

The Philadelphia Orchestra, Philadelphia Verizon Hall

“She “plays” the orchestra as a piano — which is to say, she manipulates variances in tempo to such a fine degree of control that it is as if she were acting with the single-minded will of a pianist. (…)
This level of attention led to revelations, not to mention drama. In Brahms’ Symphony No. 2, the dynamic changes were big, the tempo changes frequent. But the choices were anything but random. Phrases were shaped in the service of the underlying emotional intent — the singer in her. (…)
I loved the way Stutzmann gave gestures and melodies in the last movement an inevitable drive toward the very last note. (…)
A striking account of Mendelssohn’s Hebrides Overture (“Fingal’s Cave”) opened the concert. As in the Brahms, Stutzmann paid close attention to such matters as dynamics, phrasing, and the exact length of notes. There was great specificity in the vision she conjured, and while I’m not sure exactly what aspect of the Scottish cave she was evoking with a crescendo that grew to terrifying heights, the sense of awe was unmistakable.”
The Philadelphia Inquirer

August 7, 2019

BBC National Orchestra of Wales, BBC Proms London Royal Albert Hall

“Yet the conductor who vigorously steered this evening of luxurious period drama, Nathalie Stutzmann, would have made news even a decade ago. Some overdue revolutions soon become almost unnoticeable. (…) She led a trio of works [Brahms’ Tragic Overture, Wagner’s Prelude and Liebestod from Tristan und Isolde and Mozart’s Requiem] that painted the Royal Albert Hall in ever-deeper layers of heroic grief and epic sorrow. It built into an emotional blow-out, or grande bouffe, in which the individual ingredients never lost their flavour or the chef her tight control. (…)
Stutzmann coaxed some fine, forest-dark sonorities from the all-important lower woodwinds (such as Lenny Sayers’s bass clarinet), and the Prelude crested and broke with a jolting force. As for the Liebestod, it lacked for nothing in swelling intensity, and Stutzmann throughout emphasised the drama rather than the languor as we rose inexorably towards its peaks. The cellos, led by Alice Neary, purred, glowed and pounced. After the earth duly moved, Stutzmann rightly stretched out the enraptured silence for the span of a long sigh. An old-fashioned spell of bliss, perhaps, but still an utter treat. (…)
Let’s hope she returns soon.”
Theartsdesk.com

“Nathalie Stutzmann really is an impressive conductor. The sheer elegance she brings to her formidable technique, the effortless drive towards making much of the music she conducts sound so passionate and the ability to shock us into hearing something quite new in music we think we know is really rather refreshing.”
Opera Today

June 18, 2019

National Symphony Orchestra, Washington Kennedy Center

“[Nathalie Stutzmann] simply embodied the music. Her body swayed with the rhythm and grace of a dance, her expression rose and fell with the changing moods of the pieces, and her sharp breaths punctuated her conducting almost like another instrument. Indeed, a Stutzmann concert is worth seeing from a periphery seat; watching the conductor’s face and hands is almost as inspiring as listening to the music itself.
What made the NSO’s presentation of Mozart so memorable was not just its display of technical expertise (which it had), but its spirit of generosity. Each piece was performed not in a pompous or ostentatious manner, which would have been enough to impress but not to inspire. Stutzmann’s passion for conducting and for the music burst forth as she engaged with the orchestra, and the musicians responded in kind. It made for an experience in which the music was not just produced but given. It was Mozart at his best.”
The New Criterion

May 9, 2019

Kristiansand Symphony Orchestra, Kilden Performing Arts Centre

“I do not know what Stutzmann does to achieve her results. But first of all, she gets the musicians to be so dedicated, so devoted and so engaged that it shines a long way both for eyes and ears. In addition, she has a super control over the big lines, the shapes in the music, while the detail work is meticulous and extremely controlled.”
Fædrelandsvennen

March 9-10, 2019

St. Louis Symphony Orchestra, St. Louis Powell Hall

“Inhabiting the score completely, Stutzmann stayed with her singers throughout; the phrasing was ideal, as was the balance between orchestral and choral musicians. Stutzmann is intense, clear and easy to follow; she understands every measure of this piece [Brahms’ Ein Deutsches Requiem].”
St. Louis Post-Dispatch