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Joseph Rescigno

Conductor

Joseph Rescigno has conducted for more than 50 companies on four continents. Since 1981, he has served as Artistic Advisor and Principal Conductor of the Florentine Opera Company of Milwaukee, where he conducted some of the company’s most challenging productions. He also has been Music Director of La Musica Lirica, a summer program for singers in Northern Italy, since 2005, and served as Artistic Director of Metropolitan Orchestra of Greater Montreal, Quebec for four seasons.  In his permanent and guest engagements, Maestro Rescigno traverses the repertoire from new works like Minoru Miki’s Jōruri and Don Davis’s Río de Sangre (both world premières under his baton), to rarities like Rossini’s 1816 La Gazzetta.

 

Oct
2014

Oct-24
to
Oct-26
Der fliegende Holländer
Florentine Opera
Milwaukee, WI
Feb
2015

Feb-28
to
Mar-08
Rigoletto
Atlanta Opera
Atlanta, GA
May
2015

May-08
to
May-10
L’elisir d’amore
Florentine Opera
Milwaukee, WI
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Passionate and cohesive, with shimmering strings and riotous brass
 Der fliegende Holländer - The Flying Dutchman has always been a conductor’s opera. With Joseph Rescigno at the helm of Arizona Opera Orchestra, we are treated with intense and assured conducting. From the very first bars of the overture, he imposes a lightning tension and never releases his grip. The pace and drive are everything they should be, and so is the balance between German heaviness and Romanticism. The reading of the score is spacious in its tempos, never bombastic, but delicately subtle and stormy when needed. The musicians’ response? Passionate and cohesive, with shimmering strings and riotous brass. Likewise, the strong vocal cast assembled by Arizona Opera makes for a commendable performance.” Concerto.Net
…gave a richly atmospheric and shaped reading of Puccini’s emotive score…
 Madama Butterfly - “I reached for the handkerchief several times— mostly in the bittersweet second act. Credit the Fort Worth Symphony Orchestra, led by conductor Joseph Rescigno, which gave a richly atmospheric and shaped reading of Puccini’s emotive score… There were no dead spots in Rescigno’s brisk conducting, and in such moments as the Humming Chorus and Act III’s opening interlude, the players proved what a marvel Puccini’s music is.” – Fort Worth Telegram 
note-complete and purely delightful
 Il barbiere di Siviglia - “The rethinking came mostly in questions of tempo: The stretta of the first act finale, for instance, was taken so slowly that the vocal triplets could actually be attempted (this listener, in dozens of “Barbers,” had never heard them before). And lo and behold, it proved to be a far more effective tempo for the shape of the piece. At the usual pace it can seem a little frantic; one wants it over with, and most productions make cuts to shorten it. Here, it was note-complete and purely delightful.”The New York Times
…exemplary handling…
Salome - “Joseph Rescigno fielded some of his best work yet with this exemplary handling of Strauss’s reduced orchestration for eighty-two (as opposed to the original scoring for 110) instruments. The Milwaukee Symphony played beautifully.”Opera News
…paced and balanced sensitively…
Der Rosenkavalier - “Conductor Joseph Rescigno paced and balanced sensitively and maintained transparency in the dense orchestration.  That last point is crucial, as waltzes lurk deep in the mix, as if heard through the open windows of a ballroom down the block.  Rescigno and Strauss never let you forget.”Milwaukee Journal-Sentinel
…brought cohesion to the whole…
Ariadne auf Naxos - “Maestro Joseph Rescigno supported his cast with gorgeous orchestral playing, brought cohesion to the whole and shaped the evening into a compelling progression toward its radiant conclusion.” Opera News
…kept ensemble neat and rhythm taught…
Tosca -“Conductor Joseph Rescigno oversaw that flow, which emanated from the Milwaukee Symphony Orchestra, with an unerring had.  Rescigno kept ensemble neat and rhythm taut even during the freest rubato.  He balanced the colors and supported the singers sensitively.  Most important, he gathered the individual efforts of all the singers on the stage and the players in the pit into a coherent and powerful drama.”Milwaukee Journal Sentinel
…surging, incandescent reading…
Elektra -“Florentine Opera, a company that usually selects repertory with an eye toward box-office potential, offered a superb Elektra.  Joseph Rescigno led the excellent Milwaukee Symphony in a surging, incandescent reading that achieved fine balance between stage and pit.”Opera News
Composer Opera
Adamo Little Women
Barber Vanessa
Hand of Bridge
Bellini I Capuleti e i Montecchi
Norma
Bizet Carmen
Cimarosa La serva padrona
Donizetti Don Pasquale
L’elisir d’amore
La fille du régiment
Lucia di Lamermoor
Rita
Giordano Fedora
Gounod Faust
Messe Solennelle
Roméo et Juliette
Humperdinck Hänsel und Gretel
Lehár The Land of Smiles
The Merry Widow
Leoncavallo Pagliacci
Mascagni Cavalleria rusticana
Menotti The Consul
Miki Joruri
Moore Gallantry
Mozart Don Giovanni
Die Entführung aus dem Serail
Le nozze di Figaro
Die Zauberflöte
Ponchielli La Gioconda
Puccini La bohème
Madama Butterfly
Manon Lescaut
La rondine
Tosca
Turandot
Romberg The Desert Song
Rossini Il barbiere di Siviglia
La Cenerentola
L’italiana in Algeri
Saint-Saëns Samson et Dalila
Scarlatti Trionfo del Onore
Strauss, J. Die Fledermaus
Strauss Ariadne auf Naxos
Elektra
Der Rosenkavalier
Salome
Verdi Aïda
Un ballo in maschera
Falstaff
La forza del Destino
Macbeth
Nabucco
Otello
Requiem
Rigoletto
Il trovatore
La Traviata
Wagner Der fliegende Holländer
Das Rheingold
Tristan und Isolde
Die Walküre

Composer Work
Berlioz L’enfance du Christ
Roméo et Juliette
Dvořák Stabat Mater
Fine Meeting for Equal Rights, 1866
Mendelssohn Die erste Walpurgisnacht
Mozart Mass in C minor
Orff Carmina Burana
Szymanowski Litanies
Verdi Requiem
Joseph Rescigno has conducted for more than 50 companies on four continents. Since 1981, he has served as Artistic Advisor and Principal Conductor of the Florentine Opera Company of Milwaukee, where he conducted some of the company’s most challenging productions. He also has been Music Director of La Musica Lirica, a summer program for singers in Northern Italy, since 2005, and served as Artistic Director of Metropolitan Orchestra of Greater Montreal, Quebec for four seasons.

In his permanent and guest engagements, Maestro Rescigno traverses the repertoire from new works like Minoru Miki’s Jōruri and Don Davis’s Río de Sangre (both world premières under his baton), to rarities like Rossini’s 1816 La Gazzetta. He also champions neglected contemporary works like Barber’s Vanessa while conducting a broad range of operas from the standard literature. This includes Mozart’s seminal pieces; works from Italian composers like Rossini, Donizetti, Bellini, Verdi, and Puccini; romantic French operas of Bizet, Gounod, and Saint-Saëns; and works from the German canon, particularly those of Wagner and Richard Strauss. In addition, Maestro Rescigno has conducted masterworks of the choral literature, symphonies, and concertos from baroque to contemporary—sometimes from the keyboard in early music works.

As a guest artist, Maestro Rescigno has conducted at New York City Opera, Lyric Opera of Chicago, Washington National Opera, Hungarian State Opera, Opera Theatre of Saint Louis, Seattle Opera, Glimmerglass Opera, Vancouver Opera, Teatro Bellini, Opéra de Marseille, and Opéra de Montréal among others. Symphony orchestras conducted include the Orchestre symphonique de Montréal and the Milwaukee Symphony, both of which he has led in their regular subscription series opera productions. In addition, he won Quebec’s Prix Opus for a program of all five Beethoven piano concertos with Anton Kuerti and the Metropolitan Orchestra of Greater Montreal.

Maestro Rescigno’s discography includes recordings of the aforementioned world premières, Río de Sangre (for Albany Records) and Jōruri (for Toei Video Disk). He recorded two solo operatic anthologies for Analekta of Canada featuring Lyne Fortin (Mozart) and Diana Soviero (the highly regarded Verismo). Also for Analekta, he conducted three symphonic albums with works by Beethoven, Brahms, and Rescigno trained as a pianist and has been studying and performing music since childhood. His uncle was the prominent conductor Nicola Rescigno, a founder of both the Dallas Opera and Lyric Opera of Chicago. He holds a Master of Music degree from Manhattan School of Music and studied with distinguished teachers and composers in the United States and Europe.

A born teacher, Joseph Rescigno derives tremendous gratification from working with young musicians in student orchestras and singers in master classes. Multi-lingual, he readily gives lively and informative talks before performances, illustrating examples on a piano when possible. He is also working on his first book, The View from the Pit: Where Theater Meets Music.

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