"The stellar playing of the Bloch’s concerto by the Kennedy Center Orchestra under the baton of Erin Freeman contributed immensely to the success of the performance."
Oksana Khadarina, Ballet Herald
July 1, 2024
"The woman at the center of the performance, both literally and figuratively, was conductor Erin Freeman, who coordinated live music from the Richmond Symphony and Chorus, the latter joined with members of City Choir of Washington. In a single evening she was combining her roles as resident conductor of Richmond Ballet, former director of Richmond Symphony Chorus, and since last season, the successor of Robert Shafer as artistic director of City Choir of Washington. She led both works with confidence and panache, visible in a spotlight to the large chorus, arranged along the sides of the house for surround-sound effect."
Charles Downey, Washington Classical Review
August 31, 2023
"The [Carnegie Hall] stage was filled with a modest-sized (for DCINY) composite choir of about 139, composed of individual adult choirs from California, Connecticut, New Jersey, Virginia, Washington, Maryland, and Canada. They were expertly and sensitively led by Erin R. Freeman in the sublime glories of Gabriel Fauré's Requiem. . . . The choir handled both the tender wizard of the soft passages and the louder moments that set them off beautifully. Dr. Freeman brought a marvelous sense of elasticity and expansion to the choral sound."
Frank Daykin, New York Concert Review
March 30, 2022
"When it comes to Genesis, the music becomes more predictably triumphal, with broad brass chorales, and unison melodic lines from the excellent Richmond Symphony Choir."
Phillip Scott, Limelight Magazine
January 29, 2020
“It is ultimately the potency and cohesion of the Richmond Symphony Chorus, under the direction of Erin R. Freeman, that is the lifeblood of the seven-movement work.”
Daniel J. Kushner, Opera News
December, 2019
"The Richmond Symphony Chorus, prepared by Erin R. Freeman, sing Vaughan Williams’ well-set texts with beautiful tone and fine diction."
Daniel Hathaway, ClevelandClassical.Com
Review of Richmond Symphony Orchestra & Chorus recording of works by Mason Bates and Vaughan Williams
December 13, 2019
"Erin Freeman, Richmond’s talented conductor, superbly coordinated all things between the dancers and the Virginia Symphony, allowing a give and take that responded to the demands of the score and choreographic execution. I’ve run out of adjectives. This was, simply put, a wonderful experience in which time flew by and memories flooded in."
John Shulson, Virginia Gazette
December 12, 2019
"The Richmond Symphony Chorus, prepared by Erin Freeman, was in especially fine form, both in vocal technique and character. The massed voices rang out satisfyingly in big choruses such as “And the Glory of the Lord,” “Hallelujah!” and “Worthy is the Lamb,” but the ensemble was at least as impressive in well-defined part-singing in less showy numbers and in a cappella passages."
Clarke Bustard, LetterV Blog
Review of Handel's Messiah
December 7, 2019
"The Richmond Symphony conducted by Steven Smith, with the Richmond Symphony Chorus directed by Erin R. Freeman, and with soloists Michelle Areyazga (soprano) and Kevin Deas (bass-baritone), seem to fully understand how this Vaughan Williams masterpiece never sounds like it’s trying for effect. The balance among orchestra, chorus, and soloists is consistently well managed. The music flows through moods and meanings with a momentum that seems inevitable."
Jon Sobel, Blogcritics.org
Review of Richmond Symphony Orchestra & Chorus recording of works by Mason Bates and Vaughan Williams
November, 2019
"The chorus has a lot of work to do in this cantata and the Richmond Symphony Chorus acquit themselves well. There’s excellent attack, and also good clarity of words, in ‘Beat! beat! Drums’. Later, they bring ample vigour to the ‘Nation shall not lift up sword against nation’ section. This extended episode is one where, as I know well, the chorus members have to count like mad to ensure that entries are spot on and the various choral parts are accurately delivered. The Richmond singers do very well here in one of several passages in the work that are full of the skilled counterpoint... "
John Quinn – Review of Richmond Symphony Orchestra & Chorus recording of works by Mason Bates and Vaughan Williams
Musicweb-International.com
October, 2019
"On this release, the Richmond Symphony performs under conductor Steven Smith; also participating are the 150-voice Richmond Symphony Chorus directed by Erin R. Freeman and, as soloists, soprano Michelle Areyzaga and bass-baritone Kevin Deas. Recorded live at the Carpenter Theatre, Dominion Energy Center,...and with so many sonic elements in play, the recording is a veritable feast for the ears." ... "The intensity [of 'Beat, Beat, Drums'] subsides ... for 'Reconciliation,' with this time Deas' bass-baritone and the chorus bringing moving resonance to the poet's mournful expressions."... "The two works ... are remarkably complementary, due in no small part to the unanimity of vocal and instrumental forces involved."
Review of Richmond Symphony Orchestra & Chorus recording of works by Mason Bates and Vaughan Williams
Textura
October, 2019
"With the Richmond Symphony and 100-some singers from the Symphony Chorus and VCU Commonwealth Singers lining the venues main level's side walls and balcony, creating a monstrously inviting surround-sound impact, the 160 or so joined Richmond's 16 dancers to offer a smashing and sensual 'Carmina.' ... Erin Freeman ... offered a determined eye toward excellence and led the forces through with a steady hand, solidly coordinating things between musicians, chorus, soloists and dancers."
John Shulson, Virginia Gazette
October 1, 2019
"The elegant orchestration and skillful use of voices make this a very moving work when it is well performed, as it is on a new Reference Recordings disc featuring the Richmond Symphony Chorus and Richmond Symphony."
Infodad – Review of Richmond Symphony Orchestra & Chorus recording of works by Mason Bates and Vaughan Williams
transcentury.blogspot.com
September 12, 2019
"The Richmond Symphony Chorus was very much a co-star in this show, bringing lusty collective tone and genuine characterization to their crowd-scene roles. The women were gloriously riotous as the cigarette-factory girls relating the (unseen) Act 1 fight scene between Carmen and her co-worker Manuelita. ... The late James Erb, founder of the Symphony Chorus, once told me that he often sought more “operatic,” or dramatically infused, character and projection from the ensemble. He would have been gratified to hear this performance, prepared by his successor, Erin Freeman."
Clarke Bustard, LetterV.Blog
May 19, 2019
"The Richmond Symphony Chorus and UR’s two student chamber choruses, the Schola Cantorum and Women’s Chorale, produced a strikingly effective floating quality as they sang over an orchestration of shimmering tone colors."
Clarke Bustard, LetterV.Blog
April 14, 2019
"Under Resident Conductor Erin Freeman’s hand, the richness and humor of Prokofiev’s sophisticated score was expertly delivered by the Richmond Symphony, allowing a fine merger of music and movement."
John Shulson, Virginia Gazette
February 18, 2019
"Sergei Prokofiev’s romantic score is played beautifully by the Richmond Symphony, conducted by Erin Freeman."
Julinda Lewis, RVAartReview
February 15, 2019
"The Richmond Symphony Chorus, prepared by Erin Freeman, realized Brahms’ range of dark vocal colors in this score, excelling both in the quietly contemplative sections that open and close the Requiem and in the more dramatic and declarative “Denn alles Fleisch es ist wie Gras” (“For all flesh is as grass”) and “Denn wir haben hie’ kleine bleibende Statt” (“For here we have no continuing city”)."
Clarke Bustard, LetterV.Blog
November 11, 2018
"Richmond put its all into this energetic, graceful and giddy work, illustrating the perfect blend of music, movement and emotion. Throughout, Erin Freeman led members of the Richmond Symphony with a careful hand, coordinating things between the pit and the stage that brought spontaneity and immediacy to the moment which, again, while borrowing from one of the Gershwin songs, says this about the highly talented Richmond Ballet: 'S Wonderful.'"
John Shulson, Virginia Gazette
October 9, 2018
"Erin Freeman kept a steady eye on the stage and led the Richmond Symphony, which played with sumptuous sound, in an exactingly and musically choreographed endeavor that helped make this “Sleeping Beauty” a beauty of a winner."
John Shulson, Virginia Gazette
February 15, 2018
"Ms. Freeman was well prepared and energetic in her conducting. She led the large forces with meticulous detail to the many challenges of this work."
Jeffrey Williams, New York Concert Review
February 23, 2017
"Musically, things were superbly done by the Richmond Symphony with Erin Freeman, director of the Richmond Symphony Chorus, at the baton. She fully matched movement with music, bringing added delight to the endeavor."
John Shulson, Virginia Gazette
February 15, 2017
"The Richmond Symphony, under guest conductor Erin Freeman, performed brilliantly, bringing power and sensitivity to each score, with Freeman artistically coordinating the music and movement to perfection."
John Sheldon, Virginia Gazette
November 9, 2016
"Then the voices came in, and the Ninth soared as it was meant to. ...And the Richmond Symphony Chorus, joined by the Commonwealth Singers of Virginia Commonwealth University [both prepared by Erin Freeman], delivered as compelling and high-powered a reading of the Ninth's choral finale as could be desired. When they sang, "Seid umschlungen, Millionen" - "Be embraced, you millions" - the affection, and the urgency of it, were palpable."
Clarke Bustard, Richmond Times Dispatch
September 13, 2015
"Conductor Erin Freeman, choral director for the Richmond Symphony and Virginia Commonwealth University, led a vibrant account of this characteristically Slavic-flavored score."
Michael Moran, In the Spotlight - Supporting the Arts in Western Massachusetts and Beyond
August 5, 2015
“The chorus, prepared by Richmond’s Erin R. Freeman…was consistently characterful and dramatically charged.”
Clarke Bustard, Letter V – Virginia Classical Music Blog
May 18, 2014
“In her last classical subscription program before vacating the post of associate conductor in Richmond…Freeman obtained spirited, sonorous performances from voices and instruments alike.”
Clarke Bustard, Letter V – Virginia Classical Music Blog
Feb 24, 2014
“Guest conductor Erin Freeman was more entertaining. Your eyes kept wanting to go to Freeman, a slim figure darting this way and that as she kept the music moving, with grace and elan. (“Is that JoAnn Falletta?” asked a near-sighted stranger next to me, squinting. I had to tell him it wasn’t.) Freeman led the orchestra in sassy music from “West Side Story” and, for openers, a flashy Gershwin medley.”
Mary Kunz Goldman, Buffalo News
March 11, 2013
“Freeman conducted [the Mozart Requiem], impressively, from memory, and the always well-prepared Richmond Symphony Chorus performed with dramatic intent. … How lovely to see, in “Prayers of Rain and Wind,” an orchestra, a soloist, and a conductor all fully, resplendently awake on stage. Prayers carried not a hint of the perfunctory, and offered – in the spirit of jolting old cliches to new life – a breath of fresh air.”
Anne Timberlake, Richmond Times Dispatch
Feb 18, 2013
“The conductor [Erin Freeman] and musicians, including an offstage chorus intoning a Southern gospel melody, reveled in the colorful score Hedges crafts for the orchestra.’… “Freeman and the orchestra gave a solid but propulsive reading of the overture, especially effective in its treatment of silences following fanfares. The Symphony Chorus, which Freeman directs, brought a welcome combination of heft and sensitivity in the Mass”
Clarke Bustard, Letter V – Virginia Classical Music Blog
Feb 18, 2013
Luck helps make orchestra’s “Wicked Diva” pops concert a fun, entertaining affair. BPO Pops concert hits all the notes that count. “To top it all off, everything came together. Freeman’s conducting was kinetic yet focused, the singers were personable and talented, and the orchestra responded in kind. While Clarke and Reiber inhabited their roles…the orchestral sections were played with plenty of verve as well… It was an evening of fun that came off despite all the odds. Kudos to all concerned.”
Geraud MacTaggart, Buffalo News
Feb 15, 2013
“Conductor Erin Freeman got things off to a rousing start with an exuberant but well-controlled reading of the colorful overture from “Candide,” Bernstein’s popular comic operetta…. Some of the best moments […] came when the orchestra performed “The Symphonic Dances.” The color, rhythmic vitality and sensitivity required by this piece were evident all the way through.”
Gene Harris, Richmond Times Dispatch
Oct 1, 2012
“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. Freeman… led the Beethoven Mass very much in the manner of Shaw, with moderate tempos, rich, robust choral sound and warm, weighty orchestral sonorities."
Clarke Bustard, Richmond Times Dispatch
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
“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, Sing Me Back Home: The Richmond Symphony Chorus Celebrates 40 years of Passion
May 10, 2011
“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
“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
“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
“Sydney Stewart, a young, burgeoning clarinet player, says conductor Freeman makes everyone feel welcome and capable of making great music… ‘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
“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 – Whodunit headlines first Lollipops concert.
November 1, 2009
“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
“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 –Richmond Symphony Offers Musical Education
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
“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
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
‘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.”
Walk Amacker, Richmond Times Dispatch
May 3, 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, 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…”
Clarke Bustard, Letter V - Virginia Classical Music Blog
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
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, Baltimore Sun
March 21, 2006
“Guest Conductor Erin R. Freeman obtained unusually rich and lyrical playing from the orchestra.”
Clarke Bustard, Richmond Times Dispatch
November 3, 2003
Oksana Khadarina, Ballet Herald
July 1, 2024
"The woman at the center of the performance, both literally and figuratively, was conductor Erin Freeman, who coordinated live music from the Richmond Symphony and Chorus, the latter joined with members of City Choir of Washington. In a single evening she was combining her roles as resident conductor of Richmond Ballet, former director of Richmond Symphony Chorus, and since last season, the successor of Robert Shafer as artistic director of City Choir of Washington. She led both works with confidence and panache, visible in a spotlight to the large chorus, arranged along the sides of the house for surround-sound effect."
Charles Downey, Washington Classical Review
August 31, 2023
"The [Carnegie Hall] stage was filled with a modest-sized (for DCINY) composite choir of about 139, composed of individual adult choirs from California, Connecticut, New Jersey, Virginia, Washington, Maryland, and Canada. They were expertly and sensitively led by Erin R. Freeman in the sublime glories of Gabriel Fauré's Requiem. . . . The choir handled both the tender wizard of the soft passages and the louder moments that set them off beautifully. Dr. Freeman brought a marvelous sense of elasticity and expansion to the choral sound."
Frank Daykin, New York Concert Review
March 30, 2022
"When it comes to Genesis, the music becomes more predictably triumphal, with broad brass chorales, and unison melodic lines from the excellent Richmond Symphony Choir."
Phillip Scott, Limelight Magazine
January 29, 2020
“It is ultimately the potency and cohesion of the Richmond Symphony Chorus, under the direction of Erin R. Freeman, that is the lifeblood of the seven-movement work.”
Daniel J. Kushner, Opera News
December, 2019
"The Richmond Symphony Chorus, prepared by Erin R. Freeman, sing Vaughan Williams’ well-set texts with beautiful tone and fine diction."
Daniel Hathaway, ClevelandClassical.Com
Review of Richmond Symphony Orchestra & Chorus recording of works by Mason Bates and Vaughan Williams
December 13, 2019
"Erin Freeman, Richmond’s talented conductor, superbly coordinated all things between the dancers and the Virginia Symphony, allowing a give and take that responded to the demands of the score and choreographic execution. I’ve run out of adjectives. This was, simply put, a wonderful experience in which time flew by and memories flooded in."
John Shulson, Virginia Gazette
December 12, 2019
"The Richmond Symphony Chorus, prepared by Erin Freeman, was in especially fine form, both in vocal technique and character. The massed voices rang out satisfyingly in big choruses such as “And the Glory of the Lord,” “Hallelujah!” and “Worthy is the Lamb,” but the ensemble was at least as impressive in well-defined part-singing in less showy numbers and in a cappella passages."
Clarke Bustard, LetterV Blog
Review of Handel's Messiah
December 7, 2019
"The Richmond Symphony conducted by Steven Smith, with the Richmond Symphony Chorus directed by Erin R. Freeman, and with soloists Michelle Areyazga (soprano) and Kevin Deas (bass-baritone), seem to fully understand how this Vaughan Williams masterpiece never sounds like it’s trying for effect. The balance among orchestra, chorus, and soloists is consistently well managed. The music flows through moods and meanings with a momentum that seems inevitable."
Jon Sobel, Blogcritics.org
Review of Richmond Symphony Orchestra & Chorus recording of works by Mason Bates and Vaughan Williams
November, 2019
"The chorus has a lot of work to do in this cantata and the Richmond Symphony Chorus acquit themselves well. There’s excellent attack, and also good clarity of words, in ‘Beat! beat! Drums’. Later, they bring ample vigour to the ‘Nation shall not lift up sword against nation’ section. This extended episode is one where, as I know well, the chorus members have to count like mad to ensure that entries are spot on and the various choral parts are accurately delivered. The Richmond singers do very well here in one of several passages in the work that are full of the skilled counterpoint... "
John Quinn – Review of Richmond Symphony Orchestra & Chorus recording of works by Mason Bates and Vaughan Williams
Musicweb-International.com
October, 2019
"On this release, the Richmond Symphony performs under conductor Steven Smith; also participating are the 150-voice Richmond Symphony Chorus directed by Erin R. Freeman and, as soloists, soprano Michelle Areyzaga and bass-baritone Kevin Deas. Recorded live at the Carpenter Theatre, Dominion Energy Center,...and with so many sonic elements in play, the recording is a veritable feast for the ears." ... "The intensity [of 'Beat, Beat, Drums'] subsides ... for 'Reconciliation,' with this time Deas' bass-baritone and the chorus bringing moving resonance to the poet's mournful expressions."... "The two works ... are remarkably complementary, due in no small part to the unanimity of vocal and instrumental forces involved."
Review of Richmond Symphony Orchestra & Chorus recording of works by Mason Bates and Vaughan Williams
Textura
October, 2019
"With the Richmond Symphony and 100-some singers from the Symphony Chorus and VCU Commonwealth Singers lining the venues main level's side walls and balcony, creating a monstrously inviting surround-sound impact, the 160 or so joined Richmond's 16 dancers to offer a smashing and sensual 'Carmina.' ... Erin Freeman ... offered a determined eye toward excellence and led the forces through with a steady hand, solidly coordinating things between musicians, chorus, soloists and dancers."
John Shulson, Virginia Gazette
October 1, 2019
"The elegant orchestration and skillful use of voices make this a very moving work when it is well performed, as it is on a new Reference Recordings disc featuring the Richmond Symphony Chorus and Richmond Symphony."
Infodad – Review of Richmond Symphony Orchestra & Chorus recording of works by Mason Bates and Vaughan Williams
transcentury.blogspot.com
September 12, 2019
"The Richmond Symphony Chorus was very much a co-star in this show, bringing lusty collective tone and genuine characterization to their crowd-scene roles. The women were gloriously riotous as the cigarette-factory girls relating the (unseen) Act 1 fight scene between Carmen and her co-worker Manuelita. ... The late James Erb, founder of the Symphony Chorus, once told me that he often sought more “operatic,” or dramatically infused, character and projection from the ensemble. He would have been gratified to hear this performance, prepared by his successor, Erin Freeman."
Clarke Bustard, LetterV.Blog
May 19, 2019
"The Richmond Symphony Chorus and UR’s two student chamber choruses, the Schola Cantorum and Women’s Chorale, produced a strikingly effective floating quality as they sang over an orchestration of shimmering tone colors."
Clarke Bustard, LetterV.Blog
April 14, 2019
"Under Resident Conductor Erin Freeman’s hand, the richness and humor of Prokofiev’s sophisticated score was expertly delivered by the Richmond Symphony, allowing a fine merger of music and movement."
John Shulson, Virginia Gazette
February 18, 2019
"Sergei Prokofiev’s romantic score is played beautifully by the Richmond Symphony, conducted by Erin Freeman."
Julinda Lewis, RVAartReview
February 15, 2019
"The Richmond Symphony Chorus, prepared by Erin Freeman, realized Brahms’ range of dark vocal colors in this score, excelling both in the quietly contemplative sections that open and close the Requiem and in the more dramatic and declarative “Denn alles Fleisch es ist wie Gras” (“For all flesh is as grass”) and “Denn wir haben hie’ kleine bleibende Statt” (“For here we have no continuing city”)."
Clarke Bustard, LetterV.Blog
November 11, 2018
"Richmond put its all into this energetic, graceful and giddy work, illustrating the perfect blend of music, movement and emotion. Throughout, Erin Freeman led members of the Richmond Symphony with a careful hand, coordinating things between the pit and the stage that brought spontaneity and immediacy to the moment which, again, while borrowing from one of the Gershwin songs, says this about the highly talented Richmond Ballet: 'S Wonderful.'"
John Shulson, Virginia Gazette
October 9, 2018
"Erin Freeman kept a steady eye on the stage and led the Richmond Symphony, which played with sumptuous sound, in an exactingly and musically choreographed endeavor that helped make this “Sleeping Beauty” a beauty of a winner."
John Shulson, Virginia Gazette
February 15, 2018
"Ms. Freeman was well prepared and energetic in her conducting. She led the large forces with meticulous detail to the many challenges of this work."
Jeffrey Williams, New York Concert Review
February 23, 2017
"Musically, things were superbly done by the Richmond Symphony with Erin Freeman, director of the Richmond Symphony Chorus, at the baton. She fully matched movement with music, bringing added delight to the endeavor."
John Shulson, Virginia Gazette
February 15, 2017
"The Richmond Symphony, under guest conductor Erin Freeman, performed brilliantly, bringing power and sensitivity to each score, with Freeman artistically coordinating the music and movement to perfection."
John Sheldon, Virginia Gazette
November 9, 2016
"Then the voices came in, and the Ninth soared as it was meant to. ...And the Richmond Symphony Chorus, joined by the Commonwealth Singers of Virginia Commonwealth University [both prepared by Erin Freeman], delivered as compelling and high-powered a reading of the Ninth's choral finale as could be desired. When they sang, "Seid umschlungen, Millionen" - "Be embraced, you millions" - the affection, and the urgency of it, were palpable."
Clarke Bustard, Richmond Times Dispatch
September 13, 2015
"Conductor Erin Freeman, choral director for the Richmond Symphony and Virginia Commonwealth University, led a vibrant account of this characteristically Slavic-flavored score."
Michael Moran, In the Spotlight - Supporting the Arts in Western Massachusetts and Beyond
August 5, 2015
“The chorus, prepared by Richmond’s Erin R. Freeman…was consistently characterful and dramatically charged.”
Clarke Bustard, Letter V – Virginia Classical Music Blog
May 18, 2014
“In her last classical subscription program before vacating the post of associate conductor in Richmond…Freeman obtained spirited, sonorous performances from voices and instruments alike.”
Clarke Bustard, Letter V – Virginia Classical Music Blog
Feb 24, 2014
“Guest conductor Erin Freeman was more entertaining. Your eyes kept wanting to go to Freeman, a slim figure darting this way and that as she kept the music moving, with grace and elan. (“Is that JoAnn Falletta?” asked a near-sighted stranger next to me, squinting. I had to tell him it wasn’t.) Freeman led the orchestra in sassy music from “West Side Story” and, for openers, a flashy Gershwin medley.”
Mary Kunz Goldman, Buffalo News
March 11, 2013
“Freeman conducted [the Mozart Requiem], impressively, from memory, and the always well-prepared Richmond Symphony Chorus performed with dramatic intent. … How lovely to see, in “Prayers of Rain and Wind,” an orchestra, a soloist, and a conductor all fully, resplendently awake on stage. Prayers carried not a hint of the perfunctory, and offered – in the spirit of jolting old cliches to new life – a breath of fresh air.”
Anne Timberlake, Richmond Times Dispatch
Feb 18, 2013
“The conductor [Erin Freeman] and musicians, including an offstage chorus intoning a Southern gospel melody, reveled in the colorful score Hedges crafts for the orchestra.’… “Freeman and the orchestra gave a solid but propulsive reading of the overture, especially effective in its treatment of silences following fanfares. The Symphony Chorus, which Freeman directs, brought a welcome combination of heft and sensitivity in the Mass”
Clarke Bustard, Letter V – Virginia Classical Music Blog
Feb 18, 2013
Luck helps make orchestra’s “Wicked Diva” pops concert a fun, entertaining affair. BPO Pops concert hits all the notes that count. “To top it all off, everything came together. Freeman’s conducting was kinetic yet focused, the singers were personable and talented, and the orchestra responded in kind. While Clarke and Reiber inhabited their roles…the orchestral sections were played with plenty of verve as well… It was an evening of fun that came off despite all the odds. Kudos to all concerned.”
Geraud MacTaggart, Buffalo News
Feb 15, 2013
“Conductor Erin Freeman got things off to a rousing start with an exuberant but well-controlled reading of the colorful overture from “Candide,” Bernstein’s popular comic operetta…. Some of the best moments […] came when the orchestra performed “The Symphonic Dances.” The color, rhythmic vitality and sensitivity required by this piece were evident all the way through.”
Gene Harris, Richmond Times Dispatch
Oct 1, 2012
“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. Freeman… led the Beethoven Mass very much in the manner of Shaw, with moderate tempos, rich, robust choral sound and warm, weighty orchestral sonorities."
Clarke Bustard, Richmond Times Dispatch
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
“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, Sing Me Back Home: The Richmond Symphony Chorus Celebrates 40 years of Passion
May 10, 2011
“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
“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
“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
“Sydney Stewart, a young, burgeoning clarinet player, says conductor Freeman makes everyone feel welcome and capable of making great music… ‘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
“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 – Whodunit headlines first Lollipops concert.
November 1, 2009
“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
“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 –Richmond Symphony Offers Musical Education
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
“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
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
‘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.”
Walk Amacker, Richmond Times Dispatch
May 3, 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, 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…”
Clarke Bustard, Letter V - Virginia Classical Music Blog
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
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, Baltimore Sun
March 21, 2006
“Guest Conductor Erin R. Freeman obtained unusually rich and lyrical playing from the orchestra.”
Clarke Bustard, Richmond Times Dispatch
November 3, 2003