Operatic Reviews | Symphonic Reviews | Choral Reviews



The orchestra proved excellent, and Rink led a naturally drammatic performance (of Tosca).

Jim Lowe, The Rutland (VT) Herald

This production of L'Elixir d'amore was sensitively and expertly conducted by Jeffrey Rink. It sounded great.

Jim Lowe, The Rutland (VT) Herald

Guest conductor Jeffrey Rink took a traditional approach (in this production of The Magic Flute, but it was sensitive, nuanced and spirited. The orchestra responded enthusiastically.

Jim Lowe, The Rutland (VT) Herald

With regard to the Orchestra of the State Philharmonic of Arad (Romania) , conducted by Jeffrey Rink, they proved up to the task, compact and precise , accompanying very well the singers in this production of Le Nozze di Figaro.

La musica classica in Italia e nel mondo,(Naples)

“La Boheme [conducted by Jeffrey Rink] now running at the Maryland Opera Studio in alternation with Handel's Giulio Cesare is about as good as any "Boheme" you are likely to see this side of the Metropolitan Opera or Covent Garden…. The "Boheme" presented Saturday night at the University of Maryland's Clarice Smith Center had maximum impact from the chilled but boisterous opening to the despairing final curtain.”

Joseph McLellan, The Washington Post

“The real hero of the occasion was conductor Jeffrey Rink, who on the evidence of this ”Faust” and his “Carmen” three years ago, must be Boston’s most under-estimated operatic conductor.... [His] performance was notable for intelligence, panache, style and sensitivity, and Rink’s technique is solid enough to everyone over the rough patches.” “Rink swung into the waltz with exhilarating vivacity; the Garden Scene breathed a heavy erotic perfume, and the Prison Scene turned on directly powerful emotions...” “Faust is not generally thought of as a conductor’s opera, although Sir Thomas Beecham and Pierre Monteux believed otherwise. So, in his own way, did Jeffrey Rink.”

Richard Dyer, The Boston Globe

Rink is an unobtrusive conductor, but superbly attuned to singers' breathing and phrasing, and the polish and vividness of the pick-up orchestra was witness to his effective artistry. With noble pace, the prodigious sonic bloom engulfed the room. As it should: No matter the vessel, "Turandot" overflows. 

Matthew Guerrieri, The Boston Globe

The contributions of the chorus and orchestra cannot be overstated. Jeffrey Rink was in firm control of his legion of performers, down to cueing the delightful children’s chorus that was nestled in the balcony. He conducted with total authority. His tempi were, for the most part, fleet; though he provided a spacious framework for Liu’s lyric arias. The opera’s rousing finale drove the appreciative audience to its feet, and left us hoping to see Rink someday return to Chorus Pro Musica in the role of guest conductor.

Ed Tapper, Edge

Opera in concert can sometimes be a stilted affair, with works of great theatrical dynamism reduced to two dimensions by a stolid lineup of singers planted shoulder-to-shoulder in front of an orchestra. Not so with Chorus pro Musica, which ended its season on Sunday in Jordan Hall with a classic double serving of operatic naturalism: "Cavalleria Rusticana" by Mascagni and "I Pagliacci" by Leoncavallo. Far from the concert-opera norm, these were engagingly hot-blooded performances, music director Jeffrey Rink and his collected forces succeeded in bringing the elemental passion and fevered expressivity of this music clearly to the fore.

Jeremy Eichler, The Boston Globe

Rink’s conducting swept one along on torrents of climaxes. He shaped Mascagni’s soaring tunes eloquently and seemed to delight in the elegance of Leoncavallo’s orchestra

Lloyd Schwartz, The Boston Phoenix

The orchestra, full of veterans of Boston’s opera wars, played a fiery performance for Rink [of Verdi’s Attila], who commands all of the skills of operatic conducting.

Richard Dyer, The Boston Globe

Rink created a fast-moving and shapely performance [of Samson et Dalila]. The familiar Bacchanale, was spine-tingling.

Lloyd Schwartz, The Boston Phoenix

“Rink’s decisions about tempo [in Verdi’s Macbeth] were impeccable - invigorating without being rushed, brooding without dragging, and always dramatic..”

Lloyd Schwartz, The Boston Phoenix

“From the hushed gleam of the opening prelude [in Verdi’s La Traviata] to the stabbing chords that proclaim the heroine's death nearly three hours later, Rink drew an exemplary performance from the orchestra. And his supple, responsive guiding of the voices reminded that he's an opera conductor of uncommon wisdom and skill.”

The Boston Herald

“Jeffrey Rink led a world-class Otello... “

The Boston Globe

“The most exciting opera performance of the year was Jeffrey Rink’s production of Verdi’s Otello..”

The Boston Phoenix

“Rink’s conducting was more impressionistic than dramatic. That’s a legitimate view of Verdi’s [Otello] score, and his orchestra helped him make a strong case for it. “

The Boston Herald

A spectacular performance by soprano Joanna Porackova, sonorous ones by baritone Roy Stevens and bass Mikhail Svetlov plus the powerful leadership of conductor Jeffrey Rink all came together to make Verdi's opera ``Nabucco' crackle with excitement yesterday afternoon at Jordan Hall....Under Rink's direction, the orchestra in this co-production by Chorus pro Musica and Concert Opera Boston played with exceptional vigor and exquisite color.

The Boston Herald

There was some robust and rowdy singing in the Chorus Pro Musica's concert performance of Verdi's 'Nabucco' Sunday afternoon, but the stars of the show were the chorus, the orchestra, conductor Jeffrey Rink, and Giuseppe Verdi, whose youthful genius burst into flame with this piece......Rink once again proved himself an expert and stylish Verdi conductor - propulsive, yet also supportive of his cast and at home in the world of give-and-take.

The Boston Globe

What made Nabucco most impressive, though, was the precise articulation and consistent tension and sweep of Jeffrey Rink's conducting, and the vivid response from his superlative orchestra.

The Boston Phoenix

The musicians played with heart and spirit, and they were in safe hands with Rink, whose work was authoritative and flexible; he commands this kind of Italian opera (Madama Butterfly)

Richard Dyer, The Boston Globe

The Symphony Orchestra of the UNAL (in Verdi's La Traviata) played with great sensitivity under the refined baton of Jeffrey Rink

Ricardo Marcos El Norte

So sublime was Sunday's performance of not only this great Prologue (Boito Mefistofele) but also the entire opera at Jordan Hall that its tempting to wonder if Jeffrey Rink and his Chorus pro Musica made some kind of deal with the devil themselves.

T. J. Medrek. Boston Herald

This afternoon's mastermind was, of course Jeffrey Rink, an opera conductor to be reckoned with. ...Rink (in Verdi's Macbeth) reminded us why; its combination of fresh, dramatic energy and exquisite lyric prose, both of which the conductor conveyed with near perfection with the help of his impressive orchestra and superbly trained chorus.

T. J. Medrek. Boston Herald



Rink conducted from memory (Wagner Good Friday Spell from Parsifal and Hindemith Mathis der Maler) with full mastery of the scores and absolute control of the orchestra.

Jaime Garcia Elias, El Informador (Guadalajara)

The all-Russian program with the Newfoundland Symphony Orchestra under the baton of guest conductor Jeffrey Rink was intense and moving,

Wendy Rose, St. John's Telegram (Newfoundland)

“The performance was forthright and vivid... Rink conducted with hell-bent determination and passion...”

Anthony Tommassini

"Rink's wasn't a self-consciously monumental and rhetorical Ninth; it wasn't perceived through a filter of Mahler and Bruckner. This meant that a great many of the traditional ritards, holds and flourishes simply didn't happen- the music kept on track, and you heard the curve and lift of melodic events taking place within a clean, lucid, honest frame of order, There was a lot to listen to - rhythmic shapes had a wonderful profile , and the quickstep tempo of the second movement Trio was completely convincing."

Richard Buell, The Boston Globe

Director Jeffrey Rink illuminated with his masterful hand an execution of the Fourth Symphony of Gustav Mahler in the first concert of the season 2012 of the Symphony Orchestra of the UANL. The musicians responded on Thursday night in the University Theatre with absolute motivation to a score full of delicacies, grandiose impulse, melodies and vehemence. From the beginning the North American guest, who has shown his skills on previous occasions, projected a confident version of the Overture "Candide" of Leonard Bernstein. It is right to mention some details of the rousing version of Mahler in the hands of Rink. The first movement "contemplative, without rushing" was outlined by the musicians with a spirit that was full of affection and communicativeness. In the third movement, "Tranquil" the Orchestra had opportunities to breathe, beyond the expressivity required which resulted in a miraculously balanced coordination.

Alejandro Fernández, El Norte

“Throughout the entire concert Jeffrey Rink affirmed that he is a conductor who understands and faithfully observes the intentions of the composer, musically elegant, precise and efficient without excessive movement.”

La Liberté

Jeffrey Rink, an American well-known in Europe showed that he is an artist of the highest caliber. The conductor showed full capability in the Third Symphony in a minor, Op. 44 by Sergei Rachmaninov, which is a monumental and very rarely played masterpiece. We have to admire how much and how precisely the conductor prepared the orchestra in so few rehearsals. Jeffrey Rink, even though he is an American, interpreted very well the Russian character of the piece. The orchestra, which showed full communication with the conductor, was able to realize the conductor’s rich artistic vision.

Glos Wybrzeza

Rink (in Ravel's Bolero) performed a rhythmic exercise with internal color games. His nuances were novel because the emphasis on instruments varied as much as phrasing, achieving something original. The American managed to build the crescendo with patience, helped by a section of sumptuous strings and on a precise and vociferous roll. As if that were not enough, the trumpets were able to stand out from the hell that reigned below.

Alejandro Fernández El Norte

Under Rink's direction the orchestra played with exceptional vigor and exquisite color.

T.J. Medrek, The Boston Herald

“In the program notes we read that Jeffrey Rink is an excellent conductor in performances of large works such as Beethoven’s Ninth Symphony, Handel’s Messiah, Nielsen’s Fifth Symphony, Honegger’s Third Symphony, Stravinsky’s Petrouchka and Berlioz’ Symphonie Fantastique. As you can see this is quite a serious and heavy repertoire. Friday’s interpretation of the Symphonie Fantastique proved that he is quite good indeed!” “Rink conducted without the score, I was impressed by the third movement especially. The movement is fragmented and rhythmically unclear, and full of improvisational elements. So it is difficult to achieve a cohesive interpretation. The musicians responded very well to the smallest of Rink’s intentions.”

Wanda Obniska Gazeta Morska

Conductor Jeffrey Rink led the orchestra with orderly calm. circumspection and mastery.

Siegmund Heine, Anzeiger des Wahlkreises Thalwil (Switzerland)

In the mighty Nielsen Fifth, which can often tread a dangerous line between eloquence and obviousness, there was an impression that all concerned were playing to their capacity-the result was finely-controlled, honest and moving.

Richard Buell The Boston Globe

Rink was able to produce wave after wave of the music (Scriabin Poem of Ecstasy). The large curves and their momentum served as a vehicle for the emotional surge. The conductor brought out the best of the orchestra.

Marina Lopez The Mexico City Times

“On this occasion Jeffrey Rink debuted as Guest Conductor with the Philharmonic Orchestra of the University of Mexico (OFUNAM)... Rink was always careful to details which he communicated well (and there are many) in Scriabin’s Poem of Ecstasy...he is among the best of his generation ...”

Martin Casillas de Alba, El Economista

The program opened with Stravinsky's L'Histoire du Soldat in its original guise as a theater piece. Rink conducted a polished performance in which the instrumentalists seemed to catch fire from the three actors who presented the narration in a most articulate and dramatic fashion.

Roy Guenther, The Washington Post



The conductors who over the years premiered my works have provided me with learning opportunities immeasurable. Jeffrey Rink is one of those – because his ardent study, his prodigious talent, and his innate musicality coupled with an always evident passion for both the emotion and intellect of the music at hand amazed me way back when we started to develop this piece. Now that both he and I turn back to the piece once again, I am deeply grateful for his initial vision and his willingness to bring the project to final fruition in Boston.

Roger Ames, composer of Requiem for Our Time

The Chorus sang with beautiful, forthright tone and impeccable diction.

T.J. Medrek The Boston Herald

"Jeffrey Rink's conducting was both stylish and affecting."

Howard Schott, London Musical Times

Composers Samuel Adler and Daniel Pinkham were on hand to hear their works performed, and the chorus sang handsomely under the stalwart baton of its fourth music director. Jeffrey Rink...The Chorus' committed. limpid singing, both as psalm singers and ravening mobs, added to the sonic mystery and illuminated the drama.

Susan Larsen, The Boston Globe

Mozart's Mass in C Minor featured stylish direction (from Conductor Jeffrey Rink) crisp, nuanced, transparent. rhythmically buoyant, but also sensitive and steady as to the building of climaxes.

Richard Buell, The Boston Globe

Chorus pro Musica (in Rachmaninov's Vespers) under the direction of Jeffrey Rink wasn't focusing on its ethnic "Russian-ness" rather on the rich variety of lyric shaping...The effect was often personal, direct, song-like rather than remote, objective, institutional.

Richard Buell, The Boston Globe

This was an involved and often moving performance (of Hindemith's When Lilacs Last at the Dooryard Bloom'd). Rink's conducting was confidant and ardent.

Anthony Tommasini

The extraordinarily varied, interesting and - in several instances- extremely moving program was conducted by Jeffrey Rink. The expressive centerpiece of the evening were Four Graduals by Anton Bruckner. Gorgeously sung. the pieces were sublime in their simplicity and fervor of expression. ...

Ellen Pfeifer, The Boston Herald

“The performance was forthright and vivid... Rink conducted with hell-bent determination and passion...”

Richard Dyer, The Boston Globe

“The Handel & Haydn Society Chorus prepared by Jeffrey Rink was first-rate.... It was a pleasure to hear choral singing so sensitive to the color and meaning of the words.”

Andrew Porter, New Yorker

From the opening Sinfonia (in Handel's Messiah) - lean textured and lithe, with every double-dotted rhythm in the introduction neatly in place and the three voices of the fugato cleanly delinieated and carefully shaped- it was clear that Rink's conducting was going to be stylistically right and technically adept. The playing of the orchestral musicians was carefully balanced, rhythmically true and always in tune: the singing of the H&H chorus was luminous, unforced and technically incisive. Rink's music-making was unmannered, deferential and handsome.

Anthony Tommasini

Conductor Rink's control, pace and dynamics (in Haydn's The Seasons) were just impeccable. A performance of such style, grace and vitality is not often heard and it was not lost on the audience, which gave all the performers a much deserved standing ovation.

Robert Bryce, The Journal

The chorus sang beautifully (in Haydn's The Seasons) The large orchestra showed disciplined technique and gave the singers sharp, secure support.

Kate Rivers, The Washington Post

The instrumentalists managed all of this beautifully and the chorus was their equal (in Bruckner's Mass in E minor) providing the work's high point in the masterful polyphony of the Sanctus.

Robert Bryce, The Journal

Towering above all was the Chorus, who's balance and discipline was always of the highest order. Their superb preparation (in Brahms' Requiem) was evidenced by their ability to give Rink his every dynamic subtlety.

Robert Bryce, The Journal

“The performance was a highly-charged emotional experience...Jeffrey Rink molded the work of all the singers and instrumentalists into as memorable a premiere as any composer could wish for.”

Roy Guenther, The Washington Post