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Quotes
“When the Richmond Symphony Chorus was
founded 40 years ago, its first project was "Missa Solemnis." On
Saturday, the chorus came full circle, offering a fine-grained, richly
expressive performance of Beethoven's work in company with the Richmond
Symphony and conductor Erin R. Freeman.”… “The chorus did full justice to the
text painting of the Credo, with its musical depictions of words such as
"ascendit" and "descendit." The movement's final furious
fugue, notoriously difficult, was executed cleanly.” Richmond
Times Dispatch – May 21, 2011.
“In the first of two concerts concluding this season’s Masterworks
series, Freeman, who doubles as associate conductor of the symphony, led the
Beethoven Mass very much in the manner of Shaw, with moderate tempos, rich,
robust choral sound and warm, weighty orchestral sonorities. The chorus, which at times has struggled to
project properly since the acoustical refit of the Carpenter Theatre, this time
maintained a strong presence and good sectional balance, even when singing
softly. Male choral voices were especially striking in the “stage whisper”
effects of the Et incarnatus section of the Credo, and the full ensemble
handled Beethoven’s subtly varied dynamics and tidal surges of choral sound
securely and, at its best, with seeming spontaneity.” Letter V-The
Virginia Classical Music Blog– Clarke Bustard May
21, 2011.
“Freeman was a mass of energy when leading the 130-member chorus in a
recent 2½-hour rehearsal of Beethoven's epic, rarely heard work. Freeman's
assured, nimble hand movements persuaded altos and sopranos to sync with
resonant tenors and bass… It's clear that Freeman is as in tune with chorus
members as they are with her.” Bonnie Newman Davis, Richmond Times Dispatch - May 15,
2011.
Sing Me Back Home: The Richmond Symphony Chorus Celebrates 40
years of Passion. “She runs
no-slacking-off rehearsals every Tuesday night. Reed describes Freeman's approach
as ‘minutely technical’ and very organized. ‘She doesn't hesitate to absolutely
require what she thinks the music needs.’
She knows what she's doing,’ [Richmond Symphony Chorus Founder Jim]
Erb says. ‘If she had been a student of mine, I'd be happy to take credit
for her.’" Angela Lehman Rios, Style
Weekly - May 10, 2011.
“The
symphony’s associate conductor, Erin R. Freeman, obtained mellow, sonorous
performances, with a smallish string ensemble (6-6-4-4-2) sounding more plush
than its numbers might promise in the Tchaikovsky and Honegger works.” Clarke Bustard, Letter V – Virginia Classical Music Blog -
October 3, 2010.
“The chorus, especially beautiful with
dynamic contrasts, was warm and full.” Angela
Lehmen Rios, Richmond Times Dispatch
– September 27, 2010.
“I wish I had mentioned Ms. Freeman's excellent introduction of the
Higdon piece from the podium: simple, respectful, enlightening, succinct. It
was exactly the sort of speaking one wants to hear from conductors.” Angela Lehman-Rios, www.the-peoples-snob.blogspot.com – May 20, 2010.
Symphony
impressive on a wide range of works. "The
program started with D'un matin de printemps by Lili Boulanger. From its shimmering beginning to
its full-bodied end, the short work demonstrates the grace and power of
an orchestra playing all together. Conductor Erin Freeman easily drew a
rich, balanced sound from the musicians." Angela Lehman-Rios, Richmond Times Dispatch - March 22, 2010.
Review:
Richmond Symphony. Regarding Jennifer
Higdon's Concerto for Orchestra: "Freeman led an energetic, well-balanced
performance from musicians who clearly relished their challenges."...
"D'un matin de printemps, a short, eventful and vividly colorful
sample of the French impressionist style by Lili Boulanger, the short-lived
younger sister of the great French pedagogue and conductor Nadia Boulanger,
drew an animated and tonally polished reading from the orchestra." Clarke Bustard, Letter
V – Virginia Classical Music Blog - March 20, 2010.
Review:
Richmond Symphony. “The Richmond
Symphony's chamber-orchestra series...has long boasted the orchestra's most
adventurous and imaginative programs. This weekend's edition was no
exception. Regarding Ravel Introduction and Allegro with full
strings: "The Ravel lost none of its pointillistic detail in this
orchestration, devised by Freeman and members of the orchestra."
Regarding Bizet Symphony in C: "Freeman and the orchestra delivered
readings of both elegance and energy, with supple string playing and emphatic
accenting."
Clarke Bustard, Letter V – Virginia
Classical Music Blog - March 7, 2010.
“Erin Freeman, associate conductor of the Richmond
Symphony, has a clean conducting technique and a keen knowledge of the scores she conducts.” David Lowry, Columbia Free Times Review – January 21, 2010.
Review: Richmond Symphony. “The symphony, conducted by Erin Freeman, opened the
program brightly and energetically in the ‘Festive’ Overture of Dmitri
Shostakovich, and seemed to be in comparably sparkling form as it led off the
second half in Leonard Bernstein’s ‘Candide’ Overture (‘seemed to’ because
through most of the piece the houselights were still up and the audience was
still returning to seats and chatting noisily).” Clarke Bustard,
Letter V – Virginia Classical Music
Blog - December 13, 2009.
Let
Us Play: Fiddling Around with the Richmond Symphony. "Sydney Stewart, a young, burgeoning clarinet
player, says conductor Freeman makes everyone feel welcome and capable of
making great music. ‘I like the constructor[sic] - she's real
nice.’ ... ‘Freeman gets the audience singing, shouting and doing the classical
musical equivalent of the wave. Excitement spills over even into the ranks of
the pros."
Beth Almore, Style Weekly - December 1, 2009.
“Conductor Erin R. Freeman
led the Richmond Symphony Orchestra in one of the finest kicked back classics performances
county residents and their guests have experienced. The audience was treated to
selections from classical music giants such as Beethoven, Williams, Rossini, Bartok,
Piazzolla, Prokofiev and ending with Liszt’s Hungarian Rhapsody. Conductor Freeman
engaged the audience by relating the selections to the program theme, ‘Tragedy,
Tango and Triumph.’ Her sense of humor explaining the pieces and the
performance of the musicians, contributed to a successful and enjoyable
evening, as demonstrated by loud cheers, repeated applause and a standing
ovation by the audience as Erin’s baton signaled the conclusion of the program.” Goochland Gazette- November 25, 2009
Whodunit
headlines first Lollipops concert. “The
Richmond Symphony began its new Lollipops concert series yesterday with a
program well-suited for children and the adults who brought them. If this
concert is any indication, the series will be entertaining but not infantile,
enriching but not overtly instructional... Associate conductor Erin Freeman
knew her audience...and didn't drag things out with didactic discourse." Angela Lehman-Rios, Richmond Times Dispatch - November 1, 2009.
Schmaltzy
and Sublime: A smorgasbord of showmanship at the CenterStage grand opening. “The program was book-ended by two spine-tingling
displays. ...Live footage of the Richmond Symphony was projected onto a
large screen while the orchestra bolted into Shostakovich's ‘Festive Overture,’
led at a spirited clip by Associate Conductor Erin Freeman." Edwin Slipek, Jr, Style Weekly - September 15, 2009.
CenterStage's
opening night.
“The symphony, conducted by Erin
Freeman, opened the program brightly and energetically in the
"Festive" Overture of Dmitri Shostakovich." Clarke Bustard,
Letter V – Virginia Classical Music Blog - September 13,
2009.
Bach Passion receives top marks. “Kudos
to orchestra associate conductor and chorus conductor Erin Freeman, who prepped
many elements of the production and also sang with the chorus, including
several short solos." Walt Amacker, Richmond Times Dispatch - April 19,
2009.
Entertaining
concert a resounding success, and snow’s the capper. “White ground coverage was evident over much of the city once
the symphony, the Richmond Symphony Orchestra Chorus and the Greater Richmond
Children's Choir...finished their entertaining program that ushered in the
holiday season with class." "Opening with Leroy Anderson's
"A Christmas Festival," a collection of just about every seasonal song
one could ask for, and ending with George Frederick Handel's "Hallelujah
Chorus" from "Messiah," there was something for everyone." Walt Amacker, Richmond Times Dispatch
- December 8, 2008.
Symphony
Masters Handel's Messiah. "Richmond Symphony Orchestra Chorus -- masterfully
prepared by associate conductor and RSOC director Erin Freeman."
"Smith and Freeman are to be commended for the orchestra and chorus
preparation and performance." Walt Amacker,
Richmond Times Dispatch - December 8, 2008.
"The
Richmond Symphony Chorus, prepared by Erin Freeman, was outstanding, not just
in the big showpieces "For unto us a child is born,"
"Hallelujah" and "Worthy is the Lamb," but also in the
subtler "His yoke is easy" and "Since by man came death."
The choristers’ ensemble and negotiation of counterpoint were consistently
fine; and when they punched out big exclamatory lines, the effect was truly
thrilling."
Clarke Bustard, Letter V – Virginia Classical Music
Blog - December 6, 2008.
Review:
Richmond Symphony. The choristers, prepared by Erin Freeman,
chanted solidly and produced more rarified tonalities quite strikingly. Clarke Bustard, Letter V – Virginia Classical Music Blog - November 16,
2008.
Symphony
shines on works by Stravinsky and others. "The
symphony's chorus director, Erin Freeman, had the singers well-prepared and for
the first time in recent memory separated chorus members rather than having
them grouped in sections. The chorus responded very well to the new
configuration, and one would hope that maybe the upcoming annual performance of
"Messiah" will see the same layout." Walt Amacker, Richmond Times Dispatch - November 16, 2008.
Richmond
Symphony Offers Musical Education. "Conductor Erin Freeman rehearsed this crowd with skill
and grace, encouraging the nervous newcomers without talking down to the
veterans." Letter to the
Editor, Richmond Times Dispatch - November 9, 2008.
“On Sunday, Nov.
2, the Richmond Symphony truly shone in all its glory by welcoming some 400
musicians of all ages and skill levels to “Come and Play” with them in the
second annual concert for all interested players.
The symphony adapted music for less
skilled players and distributed it to them by skill level. They set up the
Siegel Center for an enormous orchestra. Conductor Erin Freeman rehearsed this
crowd with skill and grace, encouraging the nervous newcomers without talking
down to the veterans. At the end of the afternoon, veteran musicians and
novices alike played an energetic mix of classical favorites to the delight of
an enthusiastic audience.
Music education is part of the task of
every symphony orchestra and the Richmond Symphony, like others, has an
extensive program of educational activities. But an event such as this one,
that allows even the littlest flutist to play alongside professionals in a real
symphony performance, is unusual indeed. The entire Richmond region should be
proud of this rare jewel of a symphony.” Op-Ed: Sandra Hack
Plaski, Richmond Times Dispatch – November 9, 2008.
Come
and Play. "It just goes to show what having a common goal (the
same music) and a great leader (the conductor, Erin Freeman, was spectacular)
can do for a group." Small Business Advice - November 3, 2008.
“The Intermezzo from "Cavalleria rusticana" by Pietro
Mascagni was the gem of the evening. Freeman put down her baton and conducted
with hands only, bringing a richly thematic sound from the orchestra in this
frequently heard, short, yet delectable piece. Walt Amacker, Richmond Times Dispatch –
October 25, 2008.
Symphony's Haydn Program Impressive. "Joined by the Richmond Symphony Chamber Chorus --
prepped extremely well by associate orchestra conductor and chorus director
Erin R. Freeman -- and O'Byrne, the Missa Brevis Sancti Joannis de Deo was
another highlight of the evening." Walt Amacker,
Richmond Times Dispatch - October 5, 2008.
Review:
Richmond Symphony. "A chamber
contingent of the Richmond Symphony Chorus, prepared by Erin Freeman, sang
robustly in Haydn’s "Missa Brevis Sancti Joannis de Deo," better
known as the "Little Organ Mass" for its organ obbligato (played here
by Michael Simpson) accompanying a soprano soloist (O’Byrne) in the Benedictus.
The chorus rendered the "telescoped" (textually overlapped) liturgy
of the Gloria and Credo with more clarity than might have been expected, and
with the cheerful fervor that 18th-century Austrians brought to musical
settings of Catholic liturgy." Clarke
Bustard, Letter V – Virginia Classical Music Blog - October 4, 2008.
Pocahontas
Premieres Opens with Richmond Symphony. "As the orchestra began its warm up, Dr. Erin
Freeman, Associate Conductor, came into the audience to seek assistance from
some 'whistlers' for one of the many familiar pieces that would be part of the
presentation. The symphony started off with a series of Irving Berlin
favorites. They had the audience’s feet stomping and hearts pumping to the
sound of 'Alexander’s Ragtime Band,' then cooled them off with 'White
Christmas' and then brought visions of Kate Smith to the audience with 'God
Bless America.' ...The 'whistlers' were then called forward for the
'Colonel Bogey March.' As many old-timers will remember, this was the theme
song from 'The Bridge Over The River Kwai' that starred William Holden. It was
indeed a rousing version of the march. The four amateur 'whistlers' added to
the enjoyment of the selection and were handsomely applauded. ...This had been
quite an evening for musical enjoyment. Dr. Freeman and the Richmond Symphony
are to be congratulated on a job well done and for providing a respite from the
workweek that was both calming and foot stomping good. " Eric Millirons, Midlothian Exchange - June, 3, 2008.
Golden
Performances Mark the Symphony's 50th Season. "In
the last presentation of the evening, the Richmond Symphony Chorus [prepared by
Freeman] joined the orchestra for Maurice Ravel's "Daphnis et Chloe"
and filled the great concert hall with a huge sound that left one wanting more." Walt Amacker, Richmond Times Dispatch - June 2, 2008.
'Save
the Last Dance' Symphony Program a Finale that Steps Lively. "In its final concert at Toad's Place before moving to
The National next season for its Kicked Back Classics series, the Richmond
Symphony had something for everyone Thursday night... Associate Conductor Erin
Freeman had put together an excellent program titled 'Save the Last
Dance.' Kicking off with a lively reading of Aaron Copland's
"Hoe-Down" from his incredibly popular "Rodeo," a ballet
originally choreographed by Agnes de Mille in 1942, Freeman set the stage for
the evening...And kudos to Freeman for adding a movement from "Danzas de
Panama" by American composer William Grant Still... Bartok's
"Rumanian Folk Dances" provided an excellent penultimate presentation
that led to the final movement of Ludwig van Beethoven's Symphony No. 7. It was
a perfect topping by another dance-like piece to usher out the last Kicked Back
Classics concerts of the season." Walt Amacker,
Richmond Times Dispatch - May 3, 2008.
Symphony
Brings 'Requiem' to Life.
"Prepped by the orchestra's associate conductor Erin Freeman, the chorus
did a splendid job." Walt Amacker, Richmond Times Dispatch - March 16, 2008.
Review:
Richmond Symphony: Verdi Requiem. "The chorus,
prepared by Erin Freeman, sounded generally unified, robust and/or
blood-curdling when appropriate; but in quieter sections its sound seemed to
float over the room. Whether Verdi had such a literally angelic quality in mind
we’ll leave for musicologists to ponder, but the effect was unexpected,
striking and often quite moving." Clarke
Bustard, Letter V – Virginia Classical Music Blog - March 15, 2008.
Review:
Richmond Symphony: Bach Festival Series. "Erin Freeman, the Richmond Symphony’s
associate conductor, led chamber contingents of the orchestra and Richmond
Symphony Chorus in a darkly expressive, rhythmically taut reading of Johann
Sebastian Bach’s early cantata "Christ lag in Todesbanden" ("Christ
Lay in the Bonds of Death"), BWV 4, sure to be remembered as one of the
highlights of this season’s Bach Festival series.
Freeman paired the cantata with the comparably austere "Cantus in Memory
of Benjamin Britten" by the Estonian composer Arvo Pärt, a brief, proto-minimalist
work for strings and bells that, although separated from the Bach by two and a
half centuries, proved to be a striking introduction to the cantata.
The chorus, whose direction Freeman assumed this season, was trimmed to two
dozen voices (among them, founding chorusmaster James Erb, singing in the tenor
section), providing the right balance for the small string orchestra. The
singers’ ensemble was generally unified and their diction good." Clarke Bustard, Letter V – Virginia Classical Music Blog - March 2, 2008.
A
Joyful End to an Evening of Bach:
"The orchestra was in the capable hands of its versatile associate
conductor, Erin Freeman. She not only conducts the symphony in its Kicked Back
Classics and pops concerts but also its chorus, where she succeeded the
venerable James Erb this season, and youth orchestra, and is a skilled talker
for a concert like this lacking program notes." ... "In ...
"Christ Lay in the Bonds of Death," Johann Sebastian Bach's early
cantata composed when he was in his 20s, she excelled." ...
"Were these singers marvelous! They enunciated the German words of Martin
Luther impeccably." Francis Church, Richmond Times Dispatch - March 2, 2008.
Lover’s Concert Hits Right Notes.
Under the baton of associate conductor Erin Freeman and aided by the RSO
Men's Chorus, the program had a little something for everyone while spanning
more than 250 years of musical history. Tripping off with a spirited reading of
Wolfgang Mozart's overture to "The Marriage of Figaro," the orchestra
easily slipped into three selections from American composer David Diamond's
music for "Romeo and Juliet." One might have expected to hear the
more familiar R&J version by Tchaikovsky, or even that of Berlioz or
Prokofiev. But kudos to Freeman for choosing Diamond's
composition…. Reznicek's overture
to his opera "Donna Diana" put a beautiful golden bow on the night's
presentation Walt
Amacker, Richmond Times Dispatch – February 16, 2008.
“Erin Freeman, associate conductor of the
Richmond Symphony, made her public debut as director of the Symphony Chorus in
the first of two Christmas-season performances of Handel’s "Messiah."
Although she was facing James Erb, the chorus’ founding director, now singing
in the tenor section, she showed no hesitation in crafting her own choral sound
and putting her own interpretative stamp on this all-too-familiar work.
Freeman, one of the younger protégés of the late Robert Shaw, audibly works
from the old master’s template. She obtains assertive, rhythmically precise
ensemble singing with focused intonation and unusually clear diction. In this
performance, she exploited every opportunity to draw dynamic variety from the
choristers – most strikingly, building a crescendo in the phrase "he was
bruised for our iniquities," the second section of the chorus "Surely
He hath borne our griefs."
That effect, and sharp contrasts in tempo, phrasing and dramatic effect in the
number’s four sections, made this sequence, normally overshadowed by
"Hallelujah," "For unto us a child is born," "O thou
that tellest good tidings to Zion" and "Worthy is the Lamb," the
choral highlight of the performance.
Conducting an orchestra of mid-18th century scale – 21 strings and two oboes
with continuo in most numbers – Freeman maintained better than usual balance
between instruments and a relatively oversized chorus of about 80 voices.
("Messiah" choruses of Handel’s time were half this size or smaller.)
String ensemble and articulation were unusually fine. Clarke Bustard,
Letter V – Virginia Classical Music Blog – December 1, 2007.
Review:
Richmond Symphony, Toad's Place. “Erin Freeman, the
Richmond Symphony’s new associate conductor, has inherited the Kicked Back
Classics casual concert series from a string of maestros with highly varied inclinations; but she seems well on her way to
making it her own. Garbed in red and black, accessorizing with a demon’s tail,
leading a post-Halloween show in Toad’s Place, a downtown nightclub that
generally throbs to rock bands, Freeman proved to be both a genially energetic
host and a concert programmer who garnishes fun with substance and subtlety.” Clarke
Bustard, Letter V –Virginia Classical Music Blog - November
2, 2007.
"Erin
Freeman, associate conductor of the Richmond Symphony, capably handled her
duties as conductor and as affable emcee and knowledgeable interpreter of the
works. Her natural rapport with the audience and players worked well for the
casual concert."
Lisa Crutchfield, Richmond Times Dispatch - October
6, 2007.
Of
the Richmond Symphony Orchestra's December 2, 2006, "Let it Snow"
Pops Concert: "The energetic
Freeman provided running commentary on each of the varied pieces performed and
pulled excellent results out of all participants, including the audience on a
singalong of well-known Christmas carols.... Freeman promises to bring a steady
baton along with her new duties. She has vocal training and capabilities that
should make her a natural for choral performances, and her conducting
experience is extensive." Walt Amacker, Richmond Times-Dispatch –
December 4, 2006.
"The big star was the orchestra,
led sensitively by Erin Freeman." Tim Smith, Music Critic, Baltimore Sun –March 21, 2006.
"Guest Conductor Erin R. Freeman
obtained unusually rich and lyrical playing from the orchestra." Clarke
Bustard, Music Critic, Richmond Times-Dispatch, November 3, 2003.
"Conductor Erin Freeman made the
score's most emphatic moments speak." Tim Smith, Music
Critic, Baltimore Sun, October 28, 2003.
"On the podium, Freeman is dynamic
but grounded. She remembers what her role as conductor entails. Beyond the
technical aspects comes much more - setting the tempo, expression and
interpretation, but most importantly, listening." Paula Williamson, Savannah Morning
News, March 3, 1999.
"Vores's silky, floriferous 'Book
of Aphrodite' featured soloists Erin Freeman, Chung Un Seo, and Julianna
Tollestrup.... Virginal of timbre, pure of pitch, the singers twined
seductive harmonies around the ravishing timbre of trumpets
and flutes." Susan Larson, Boston Globe, February 10, 1997.
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