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She achieved, from beginning to end, an unsuspected power from the podium : a shared intensity where each musician seemed to be listening to each other.

In addition to the dense and rich fullness of the orchestral texture, Debora Waldman seemed eager to show motion, favoring, for example, flashes of twilight of a score infinitely less decorative, so to speak (superb colors of the “night” in the style of Midsummer Night’s Dream in the third movement, with the horns perfectly placed in the repeat) …

In the final Presto, the gesture was vibrant and yet efficient, arriving to its blazing climax with the famous saltarello, a musical fever (Neapolitan Tarentella) which the young woman knew how to communicate to the entire orchestra and the public, touched by her captivating grace. It was a memorable evening.

Classiquenews.com.

It’s impossible not to note the conscientious work made by the conductor Debora Waldman. With a clear and precise gestic, Waldman guaranteed vitality and energy that the musical situations of this opera require, and ensured cohesion between the Academic Orchestra and the singers, even with very few rehearsals.

“Gazeta Mercantil” (Brazil)

Dynamism and grace in Rita, comic opera of Donizetti. 

A production based on the quality of the distribution and the direction of Debora Waldman

The good performance of the three singers was echoed the solidity of the direction of Debora Waldman, a young conductor born in São Paulo, who studied in Israel and Argentina, today assistant of Kurt Masur in France. In her hands, the Academic Orchestra obtained a very good result. The spectacle culminates in the brilliant finale ”Ma tu dei la mia ricetta”

O Estado de São Paulo (Brazil)