“After intermission came Prokofiev’s wartime Fifth Symphony. The [Boston Symphony] orchestra played strongly for Guerrero, whose visceral, full-body conducting style worked to greatest effect in the closing movement.”
The Boston Globe, November 2012
Giancarlo Guerrero is the Music Director of the Nashville Symphony Orchestra and concurrently holds the position of Principal Guest Conductor of The Cleveland Orchestra Miami Residency. Last year, Giancarlo Guerrero led the Nashville Symphony to a Grammy win for a second consecutive year with the recording of American composer Joseph Schwantner’s Concerto for Percussion and Orchestra. His previous recording with the orchestra of Michael Daugherty’s Metropolis Symphony and Deus Ex Machina won three 2011 Grammy Awards, including the category of Best Orchestral Performance. An advocate of new music and contemporary composers, Guerrero has collaborated with and championed the works of several of America’s most respected composers, including John Adams, John Corigliano, Osvaldo Golijov, Jennifer Higdon, Michael Daugherty, Roberto Sierra, and Richard Danielpour.
In the 2012-13 season, Giancarlo Guerrero makes debuts with the BBC Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, and Norwegian Radio Orchestra. He returns to the Boston SO, Toronto SO and to the Philadelphia Orchestra for both its subscription season and at Vail. Guerrero will also return to the Brussels Philharmonic, Polish National Radio Symphony Orchestra, Sao Paulo State Symphony Orchestra, and to Australia for performances with the Adelaide Symphony. An advocate for young musicians and music education, Giancarlo Guerrero returns annually to Venezuela to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s lauded El Sistema music programe.
In recent seasons Guerrero has appeared with many of the major North American orchestras, including the symphony orchestras of Baltimore, Boston, Cincinnati, Cleveland, Dallas, Houston, Seattle, Toronto, Vancouver, the Philadelphia Orchestra, and the National Symphony in Washington, DC. He has also appeared at several major US summer festivals including the Los Angeles Philharmonic at the Hollywood Bowl and The Cleveland Orchestra at Blossom Music Festival.
He is also establishing an increasingly visible profile in Europe, where his forthcoming engagements will include a debut appearance with the London Philharmonic Orchestra and return engagements with the BBC NOW, Strasbourg PO and the Monte Carlo PO. Last season, he took the Monte Carlo Philharmonic on a five-city European tour.
Early in his career, Guerrero worked regularly with the Costa Rican Lyric Opera and in recent seasons has conducted new productions of Carmen, La bohème and Rigoletto. Future plans include productions at the Houston Grand Opera and Marseille Opera. In February 2008, he gave the Australian premiere of Osvaldo Golijov’s one-act opera Ainadamar at the Adelaide Festival, to great acclaim.
Giancarlo Guerrero is represented by Jessica Ford at Intermusica, email@example.com.
2012-13 Season / 437 words. Not to be altered without permission. Please destroy all previous biographical material.
The Boston Symphony Orchestra / Sierra, Tchaikovsky & Prokofiev
“The Costa Rican conductor Giancarlo Guerrero was on the podium, opening the evening with Roberto Sierra’s “Fandangos,” a festive and approachable curtain-raiser that shows off the orchestra to great effect. Sierra proudly embraces the traditional Spanish dance form, which here is just lightly modernized, splashed with other Latin sounds, and on occasion playfully smeared with dissonance. Guerrero led a zesty and colorful reading.
After intermission came Prokofiev’s wartime Fifth Symphony. The orchestra played strongly for Guerrero, whose visceral, full-body conducting style worked to greatest effect in the closing movement.”
The Boston Globe, November 2012
The Cleveland Orchestra / Beethoven, Grieg, Hersch, Respighi
“Guerrero, a true extrovert on the podium, seems completely in his element in big orchestralshowpieces like Respighi's The Pines of Rome, which he led from memory withbroad, exuberant gestures, goading the orchestra on to climaxes of steely brilliance…”
Cleveland Classical, March 2012
The Philadelphia Orchestra / Prokofiev Symphony No. 5
“The Philadelphia Orchestra showed its true colors, that of a top orchestra in best form, thanks to the charismatic and masterful guidance of guest conductor Giancarlo Guerrero…”
“Maestro Guerrero was completely in control, and showed great sensitivity in phrasing and tempo. His showmanship was on full display as he conducted the more-than-hour-long work without a score, suavely danced while conducting during the second movement two and generally kept the orchestra and audience on its toes throughout, reminiscent of the late Leonard Bernstein.”
Albany Times Union, August 2011
Nashville Symphony Orchestra / Mahler Symphony No. 2 Resurrection
“Mahler's Second Symphony is nicknamed the "Resurrection," and appropriately enough, Guerrero and his forces gave it a heaven-storming performance. This was an interpretation that had everything: violent eruptions, sudden silences, melting lyricism and a final, triumphant ascent to the summit of sonic bliss…”
“Guerrero gave all of this music its due. He resisted the temptation to rush the tempo, which gave the music a welcome sense of breadth and scope.”Nashville Scene, June 2011
West Australian Symphony Orchestra / Rimsky-Korsakov, Respighi, Orff
“Throughout, Guerrero brought freshness to familiar notes...”
“There was more splendour after the interval with Guerrero charting the progress of Orff's Carmina Burana with an unerring sense of direction...Throughout, Guerrero demonstrated a rare gift - an ability to draw a full-hearted response from his forces without allowing the music to lapse into crassness or vulgar effusiveness.”
"Hopefully, there will be further opportunities to hear Guerrero conduct the WASO.”
The West Australian, May 2011
The Cleveland Orchestra / Elgar, Mendelssohn, Ravel
“Elgar’s Enigma Variations was given a gorgeously wrought performance. From the restless opening notes through the stormy, playful and grave variations, Guererro exercised control over tempos and dynamics that allowed the work to breathe and build to the climactic ending.”
“Ravel’s Bolero, which ended the concert, was a long, smoothly executed crescendo, with coolly suave playing in the winds and brass. Guerrero, having held the orchestra back throughout, opened it up to full volume for the ending, earning a long standing ovation and several curtain calls.”
Miami Herald, March 2011
“…the famous 'Enigma Variations' by Elgar, an ideal piece for virtuosi orchestras. Here Guerrero displayed another angle of his personality. The force and vibrations of the previous piece segued softly and seamlessly into an exquisite tapestry of delicate sound textures, harmonious insinuations and wile full of subtleties, save for a final more ardent and lively touch. Although this piece is played often in concert halls in this city, the Maestro knew how to present it as a first-time affair, fresh and as if just emerging from the staff.”“There was total jubilation, with the audience clamoring on its feet…Without a doubt, acquiring Guerrero has been a very smart decision. The maestro, who gives himself to the music to the point of almost dancing to it at the podium, was what The Cleveland Orchestra needed to finally conquer the music lovers of Miami.”
El Nuevo Herald, March 2011
Boston Symphony Orchestra / Tanglewood Festival
"Poet and Peasant had character and energy to burn, as did the Suite from Bizet’s Carmen. Guerrero trumped the Sunday rains with his exuberant pursuit of happiness."
The Boston Globe, August 2010
Cleveland Symphony Orchestra / Blossom Festival / Beethoven, Rachmaninoff
“The conductor Giancarlo Guerrero has a way of hurrying onstage as if he can't wait to get started. Saturday night, for his first time leading the Cleveland Orchestra at Blossom Music Center, his conducting was not only infectiously exuberant but insightful, too.
“Born in Nicaragua, raised in Costa Rica and educated at U.S. music schools, Guerrero has joined the orchestra on numerous occasions recently, both at Severance Hall and on tour… the orchestra sounded absolutely terrific under him.
“Quite possibly, Beethoven's Symphony No. 2 sounded especially fresh and pointed because it followed (after intermission) the thick, dark score of Rachmaninoff's Piano Concerto No. 3. And the orchestra was in accord with Guerrero for a riveting performance. Together, conductor and players created an especially sweet, focused string/wind blend and a chamber music-like quality of players listening to each other.
“Guerrero led with a clear point of view, that Beethoven was breaking ground in this early work. The performance was both crisply classical and thrilling, with Beethoven's surprises underlined (though not overdone) so we didn't take them for granted.”
Akron Beacon Journal, July 2008
Colorado Symphony Orchestra / Mozart, Tchaikovsky
“With soloist Cho-Liang Lin and guest conductor Giancarlo Guerrero on the podium, the Colorado Symphony Orchestra provided a sensitive, stimulating accompaniment to the concerto [Mozart Violin Concert No.4]. The rolling and often mercurial conclusion brought the audience to its feet — but while Lin's dependable, refined musicality is always enriching, it was Guerrero who claimed the highest marks for Friday night's artistic success. … And in Tchaikovsky's titanic, often thunderous symphony, Guerrero proved himself a keen interpreter of the work's insistent, impactful first movement.“
The Denver Post, February 2009
Nashville Symphony Orchestra / Aguila (World Premiere), Bartok, Ligety, Strauss
“When music director Giancarlo Guerrero talks about the symphony's commitment to new American music, he's not blowing smoke—this weekend's performance of Miguel del Aguila's The Fall of Cuzco will mark the second world premiere Guerrero has conducted here this fall.
“With high-profile premiere performances and recordings, the Nashville Symphony is attracting more and more national attention these days. Get to know Maestro Guerrero soon, and you'll be able to say you knew him when”.
The Nashville Scene, Nov 2009
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Joseph Schwantner / Percussion Concerto / Nashville Symphony Orchestra and Christopher Lamb
“The performances by the Nashville Symphony under Giancarlo Guerrero are as brilliant and exuberant as the music itself, and are very well recorded. Naxos, which happens to be located in Nashville, has a lot to be proud of with this one.”
ClassicsToday.com, February 2012
“Lamb, the Nashville Symphony and Guerrero give [...] immaculate performances in all three works [...] this is Guerrero's third CD for Naxos, but his previous recordings, both conducting the Nashville, were memorable and warmly received”
MusicWeb International.com, February 2012
“The Nashville Symphony, conducted by its music director, Giancarlo Guerreo, plays the music as if it owns it, stepping up to give performances befitting the greatest orchestras in the world. The recording is rich and lucidly detailed”
Fanfare, November 2011
“Music director Giancarlo Guerrero and the symphony provided polished and atmospheric accompaniment in all three movements [... they] play the piece with brilliance and flair”
Nashville Scene, June 2011
Micheal Daugherty / Metropolis Symphony / Nashville Symphony Orchestra
“The Metropolis Symphony is a big burly phantasmagoric romp of a symphony. That it was inspired by the fiftieth anniversary of Superman’s arrival in the pages of DC Comics is consistent with the work’s riotous primary colours and indefatigable rowdy energy.
“Daugherty must be very pleased with this disc which also draws attention to a name new to me: Giancarlo Guerrero. Watch out for more from him and from Daugherty”.
MusicWeb International.com, Sept 2009
“It's terrifically entertaining, and this new recording is every bit as fine as the premiere from David Zinman on Argo. The Nashville Symphony plays with the necessary brilliance, and conductor Giancarlo Guerrero turns in an interpretation just as vivid as its predecessor, timing out within a few seconds in just about every movement”.
ClassicsToday.com, Nov 2009
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