Acclaim
Opera Theatre's "Orfeo and Euridice" is a fresh and irreverent adventure
But because the music is so alluring, and because the music and much of the dancing were performed with such grace and transcendent beauty, and because the singing by the three principals (Jennifer Johnson Cano, Orfeo; Maria Valdes, Amore; and Andriana Chuchman, Euridice) is so magnificent, it really doesn’t matter what stage directors and scenic designers and costumiers bring to a crown jewel such as Orfeo.
ROBERT W. DUFFYSt. Louis Magazine
14 June 2018
Opera Theatre of St. Louis presents a musically outstanding 'Orfeo and Euridice
In the pit, conductor Pierre Vallet led the 1859 French version of the score (supervised by Hector Berlioz) with idiomatic style. This split of the St. Louis Symphony Orchestra played this graceful music with skill and true artistry;
Sarah Bryan MillerSt. Louis Post-Dispatch
14 June 2018
Chopin: The Piano Concertos CD review – superb flexibility and freedom
Sombart’s playing is superb: technically precise but possessing a flexibility and freedom that lets the music breathe. Vallet conducts with an innate understanding of the soloist’s intentions.
Stephen PritchardThe Guardian
25 September 2016
‘Persée et Andromède’ Glows at Manhattan School of Music
The hushed music as she entered the garden was handled with particular elegance by the orchestra, conducted in both works with an ear for transparent textures and fleet motion by Pierre Vallet.
Zachary WoolfeThe New York Times
01 May 2016
The Greenwich Village Orchestra Play Tschaikovsky in 3D
As he did with the opening number, Vallet established a very wide dynamic range early on, allowing for a high ceiling, which the group built to as seamlessly as can be done with such a technically demanding work.
Lucid Culture
19 April 2015
La Juive / Göteborg Opera / Spring 2014
“Tight and dramatic edgy sound from the Goteborg Opera orchestra under conductor Pierre Vallet.”
Aftonbladet
07 April 2014
La Juive / Göteborg Opera / Spring 2014
...director Pierre Vallet has a fascinating ability to bring 'wholeness' so that Halevys music comes out as billowing and rich, changeable.
Magnus HaglundGöteborg Press
06 April 2014
Symphonic Music Losing Its Charm? Not If the Greenwich Village Orchestra Get The
With a meticulous attention to dynamic shifts and contrasts, guest conductor Pierre Vallet brought the curtain up with a trio of pieces from Berlioz’s “concert opera” The Damnation of Faust. The first selection, Menuet des Follets, got a jolly, balletesque sway balanced by pillowy strings; the second, Ballet des Sylphes, had a nocturnal if not particularly nymphlike sweep; the third, the Rakoczy March (based on the Hungarian national song) broght the boisterously dancing energy back up.