18 Nov 2017

Critical Acclaim

Limelight Magazine

Ravel was the standout and grew stronger as its journey progressed. Suite 2’s Lever du jour, Daybreak, glowed, De La Parra achieving a gloriously sumptuous, sonic realm. An enjoyable concert.

7 Aug 2017

Critical Acclaim

The Weekend Australian

In the most exciting QSO concert in memory, resident music director Alondra de la Parra conducted a never-to-be-forgotten performance that was bursting at the seams with vitality, giving the smiling players a white-knuckle ride that looked as enjoyable as it was terrifying.

23 May 2015

Critical Acclaim


The conductor for the evening was Mexican Alondra de la Parra, who Plácido Domingo has described as “an extraordinary conductor.” In the second work on the programme, Rimsky-Korsakov’s Scheherazade Orchestral Suite, she showed her skills not just in the guiding of the orchestra, she became part of the orchestra, responding to the music with some balletic qualities.

De la Parra seemed energised by the music, her body alternately rigid and pulsating, her arms and legs like pistons and she drove the orchestra through the tumultuous work. She ensured that the abrupt changes in tempo, the changing musical dynamics and the overlapping intricate musical themes were all delivered with precision, confidence and style.

15 May 2015

Critical Acclaim

Limelight Magazine

In a neat piece of symmentrical programming, the concert was bookended in style with a demonstarion from the master himself – Piazzolla’s Tres Movimientos Tanguísticos Porteños. This was toe tapping and hip swaying stuff, played with great panache by an orchestra masterfully managed in matters of balance and pacing by de la Parra. With its smart orchestrations and subtle sense of light and shade, it all went to show that you don’t need a sledgehammer to make Latin- inflected music work its magic. When it was loud, it was loud – but no instrument was ever lost (and that included orchestral piano and a harpist who I must say played a complete blinder all evening). The second movement drew lovely solos from clarinet and flute, while the third movement fugue was led off by a superb bassoon. Alondra de la Parra brought it all off wonderfully, ensuring when hair was let down, it pretty much hit the floor.

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