Steven Sloane

On Aribert Reimann's 'Medea' at Komische Oper Berlin (premiered on 21 May 2017)

The orchestra of the Komische Oper took on the challenges of the score with impressive aplomb. Acoustically, this furioso of consistent rhythmic and tempo changes made for a continuous disorienting contrast of light and shade, whereas on the stage a dull grey mood prevailed. Superb too, was the way conductor Steven Sloane co-ordinated with the soloists, making the seemingly incompatible compatible for two full hours, right from the very first notes.
Tagesspiegel, Frederik Hanssen, 23/5/2017

The house orchestra, under guest conductor Steven Sloane, executes  the score’s broad palette of textures with impressive attention to nuance and balance, from gongs that crash in the outer aisles, to detuned, mocking flutes, to squealing brass. It may not always be a pleasant journey, but Reimann’s medea offers the listener no escape.
Financial Times, Rebecca Schmid, 23/5/2017

The real shock of Medea comes from Reimann’s orchestra. As in his Shakespeare opera Lear (…), all of the sound’s violence comes from the orchestral pit, which was released into the room with an incredible presence by Steven Sloane and the house orchestra – fierce, seething, wildly faltering string and brass figures, and raw and cracked percussion agglomerations. This was listening as a challenge and a dangerous exercise.
SZ, Wolfgang Schreiber, 25/5/2017

Steven Sloane conducted the vast orchestra of the Komische Oper congenially.
BR Klassik, Maria Ossowski, 22/5/2017

Directing the orchestra of the Komische Oper was Steven Sloane, who not only sparked off the lush tone painting of the score, with its blazes of fire, Medea’s horn melodies, Kreon’s brass pomp and Kreusa’s interplay of harp and celesta. The conductor also showed how virtuosically one section followed the other. Musically, the performance made a formidable case for a harsh, powerful and thrilling opera still on the search for a production to do it justice.
Berliner Zeitung, Peter Uehling, 22/5/17

Steven Sloane ensured that the realisation of Reimann’s score was tension-filled throughout.
NMZ, Peter P. Pachl, 23/5/17

The Orchestre de la Suisse Romande under the baton of Steven Sloane let the elements of dreams and the spicy fundamentals, of the illustrious and the ridiculous of everyday life become a colourful arc of sound – and made it clear at every moment that Britten’s sound worlds live on melodic and lyrical inspiration.
Neue Zürcher Zeitung, Rolf Urs Ringger, 25/11/2015

Steven Sloane moves through Britten’s music like a fish in the waters of a fresh, bubbly and crystal clear source. Immaculate entries from each musician, a rounded and delicate sound, orchestral flow, airy and brisk rhythms.
LE TEMPS, Sylvie Bonier, 21/11/2015 The orchestra is the true surprise of this recording. The musicians play with full sounds, rich accents and excellent colours. Of course, this compliment must be passed on to the conductor.
Fono Forum, Christoph Zimmermann, January 2014

The conductor, Steven Sloane, drew pulsing, feisty and textured playing from the orchestra.
New York Times, Anthony Tommasini, 18/9/2013

Steven Sloane, who already led the baroque orchestra to delicate transparence, unleashed not only the abundance of colours but also the entire force of Bartók’s music.
Frankfurter Allgemeine Zeitung, Gerhard Schroth, 31/5/2013

Steven Sloane conducted this ingenious piece with sharp drive and to great approval.
Süddeutsche Zeitung, Wolfgang Schreiber, 10/12/2012

Steven Sloane excelled at bringing out the mockery Prokofiev’s music makes of the theatre of illusion, with sharp contrasts and agility. This made listening to the singers an even greater pleasure.
Opernwelt, Albrecht Thiemann, February 2013