What the critics have to say:

Madama Butterfly - LA opera Jan 2006	"… Another important component was Maestro Dan Ettinger's conducting of the Los Angeles Opera's Orchestra. Under Ettinger's baton, the passion of Puccini's music still spoke through the musicians as well as the singers…" The Beverly Hills Outlook: WENDY KIKKERT
	"... Dan Ettinger, music director and principal conductor of the Israel Symphony Orchestra, conducts the L.A. Opera Orchestra in a disciplined if not inspired manner..."
Aida - LA Opera Jan- Feb 2005
	"... Bravo, conductor Dan Ettinger. He not only led the orchestra through their paces with all the majesty Verdi could have wanted, but the chorale portions were as moving as you could dream them to be..." Fred Goss Los Angeles - Aida Jan 2005
	"... Dan Ettinger elicited a richly nuanced reading of the score from the orchestra, and during the triumph scene he managed to bring to the fore details of orchestration that are rarely heard. In fact, whatever poetry there was came mainly from the pit..." SIMON WILLIAMS Copyright © OPERA NEWS
Tosca - Staatsoper Berlin:
	"... Die Staatskapelle unter der Leitung von Dan Ettinger ist von Anfang an voll dabei und strahlt den ganzen Abend hindurch große Energie, Frische und Spielfreude aus. Werden auf der einen Seite Puccinis kraftvolle Tutti ausgesprochen vital umgesetzt, so gehen auf der anderen Seite auch die leisen Töne nicht verloren. Das Orchester musiziert mit hoher rhythmischer Präzision; die Schichten und einzelnen Stimmen der Musik werden transparent, ohne dass der Zusammenklang gefährdet wird..." [...] The Staatskapelle under the direction of Dan Ettinger is "there" from the beginning, and plays with energy, freshness, and joy throughout the entire evening. On the one hand Puccini's energetic Tutti have vitality, but on the other hand the piano parts don't get lost either. The orchestra makes music with great rhythmic precision, the levels and single voices of the music are transparent, but the unity of sound is never endangered. [...] Nora Mansmann 26.9.2005
Tosca: Great Music, Bad Staging
	The opera about politics of corruption introduce a talented conductor Dan Ettinger "… once again it proves that age is not a factor in the opera world. Here comes the young conductor Dan Ettinger and serves us with a wonderful Puccini. Shows passionate music. Touches the fire of the music. Israel Symphony Orchestra Rishon LeZion is enraged with a huge sound and the warmth of music is pouring out of the musical instruments … Simply Magnificent … … whoever stood on the way of this production is the stage director, on his trial to set the center the interest with a "propaganda movie" about Rome. Miraculously, Ettinger did not let him pinch the music from him ... Although staging and scenario are weak, it is recommended because of the Soprano, Tenor and above all Ettinger ... Hanoch Ron - Yediot Achronot (YNet) Tosca: Israeli Opera, March 2004

A Star Named Ettinger "... the two musical heroes are the wonderful and touchy Puccini and Conductor Dan Ettinger, who emerge with an overflowing treasure of music: sensitive, passionate Dramatic and Lyric… … Ettinger's talent is amazing. His veins are full not with blood but with flowing music… … All the wonderful real happenings are in the music. The Israel Symphony Orchestra Rishon LeZion under the baton of Ettinger (who will assume the post of the orchestra's Music Director in season 2005) were miraculously successful and covered all the weak spots of this production…" Ora Binur - Ma'ariv - Tosca: Israeli Opera, March 2004

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No Conductor in his own land One had to hear "our" Dan Ettinger in Berlin to understand how Jerusalem missed out on him “...The young Dan Ettinger stood in the pit, waving his baton - and suddenly, the orchestra and singers burst in the sheer joyousness of Donizetti's "L'Elisir d'Amore". It wasn't just a good performance. It was magnificent. I haven't heard such a spirited "L'Elisir" in years. ... Watching the audience of Berlin lavishing on Ettinger was a revelation. Applause and roars of approval of this magnitude simply aren't heard in our parts. Barenboim gave him the keys to the Everest. So what if Ettinger is still young? So what if he is Israeli? In Berlin - high musical standards are applauded! The truth - Ettinger deserved every bit of it. For the lucidity in the orchestral sound. For the musical flow. The fidelity in style. Like with a giant conductor, the orchestra never covered even a single singer. Ettinger was simply born wielding a baton.. ...” Hanoch Ron, Yedioth Ahronot, L'Elisir d'Amore, Staatsoper Berlin, December 5th, 2003

"…The storytelling audible from the orchestra pit, however, is a thing already known. And yet, it is always a pleasure to hear it especially when it is played as fascinating and delicate, as powerful and fragile as it was played by the Staatskapelle under the direction of Dan Ettinger…" Ulrich Ruhnke, Das Orchester Magazine 12/2003 Turandot Staatsoper Berlin

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La Traviata “… luckily for us, the renewed production was not just a repeat of old elements, but had some new ingredients in it – primarily the young Israeli conductor Dan Ettinger. He proved himself as the “Great White Hope” of Israeli conducting. Ettinger showed us why “La Traviata” is an opera for orchestra: the orchestra builds the drama, brings hidden feelings to light, anticipates and hints at what is about to happen, and paints the characters and plot in beautiful music. Ettinger took this job upon himself with extraordinary musicality and ease. His sense of rhythm, his breaths and musical pauses at the right places, the unending game of dynamics against dynamics – all these combined to form a sub-plot as it were, of music; one which gave much security and inspiration to the singers…” Noam Ben-Zeev - Ha'aretz, 23/Nov/2001

A Sensitive Conductor is born Liturgica, Rossini – Petite Messe Solennele. Jerusalem Symphony Orchestra. Conductor: Dan Ettinger. Tel-Aviv Performing Arts Center. Surprise! Last night I went to hear the beautiful music of Rossini’s Mass, but I found myself hypnotized by the musical beauty of a young Israeli conductor – Dan Ettinger (30). What a revelation; a sensitive conductor was born. His extraordinary musicality seems simply to ooze from his fingers, not to talk about his sensitivity to sound, to the human voice, to good taste – his conducting is saturated with it. Here is a conductor who was born out of the Romantic music. He builds a musical cathedral from Rossini’s notes. He has an ear for right phrasing. Marvelous. The beauty with this youngster is that he simply lets the music “be”. It was a fascinating journey into Rossini’s music. Ettinger gave a wonderful interpretation of this mass: Religious piety with a scent of opera thrown in for good measure. To find these right proportions is exciting. This was the evening of the Budapest Academic Choir. They have a round sound. Wonderful Soprani. Michal Shamir came back to life last night, singing with a natural flow. But the highlight was Susanna Poretsky who brought the piece to a touching climax, when the velvet seemed to engulf her voice. The Jerusalem also came back to life. They play with a nice and lively sound. Very good winds. It was also a good idea to give some artificial help to the awful acoustics of the hall. Gloria. And did I mention the young maestro Ettinger already? Hanoch Ron, Yedioth Ahronot - December 28th, 2001

An Israeli Maestro The Liturgica Festival Gala Evening: Verdi – Requiem. With the Jerusalem Symphony Orchestra, choirs and soloists. Conductor: Dan Ettinger. The Tel-Aviv Performing Arts Center. “The Tel-Aviv Performing Arts Center likes Dan Ettinger. Two months ago he saved the opera “La Traviata” in that hall, when his conducting focused the attention on the music and the orchestra, and defeated the off-taste stage production. Last night, with the requiem (also by Verdi), Ettinger gave a show of conducting, unlike anything seen here in the last few years, especially by an Israeli conductor. Few are able to make time and space for the music, as the music itself demands it! He was not afraid of long periods of thrilling silence, of unequaled expressions within pianissimi and fortissimi, and all that is in between – including transfigurations, both gradual and sudden, nor of long, seemingly endless, phrases, breathing with no problems. Ettinger, himself a singer, comes from the text, and the understanding he showed towards the choir was breathtaking, not unlike his technique and timing; all throughout the piece, all ninety minutes of it, not once did we lose the feeling of security that he gave the huge apparatus in front of him. As though he were saying: ‘Relax. My control is absolute and nothing can go wrong.’ And indeed, from his position not a single thing was missed. …” Noam Ben-Zeev, Haaretz - January 4th, 2002

Grand Messe Solennele Liturgica Festival: “Petite Messe Solennele” de Rossini. Jerusalem Symphony Orchestra, Budapest Academic Choir. Conductor: Dan Ettinger. When Rossini, the grand master of opera, finished writing his missa, he wrote on the last page of the score: ‘God. This is my last sin as an old man. Now, please save me a place in the Garden of Eden’. Whoever heard the performance yesterday knows that not only Rossini, but also the young conductor (30) Dan Ettinger, is making his way to the top. … Thus, the operatic style entangles with the religious over and undertones that Dan Ettinger expresses so well. Ettinger breathes musicality, extracts rhythmic precision, his phrasing is extraordinarily musical, here and there he jumps into the air euphorically without losing control, the choir sings nice and clear, and the music is filled with emotions and liveliness. The orchestra awakes to life, and the petite messe has long since turned to Grand, but all the more so ‘sollenele’. … Ora Binur, Maariv - December 28th, 2001

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A Promising Opera Conductor 2.12.2001 Tel Aviv LA Traviata in the New Israeli Opera – Conductor Dan Ettinger “… today we had great reason to celebrate. Good singers, such as Fiorella Burato in the role of Violetta; her painful encounter with Jonathan Summers, as Alfredo’s father, was one of the peaks in this production. However, doubly so, we discovered the extremely talented young Israeli conductor, Dan Ettinger, in his first premiere as principle conductor, he really saved this production. His interpretation of the Verdian music was of such high and sensitive level, which was long past missed in the Opera. The music took over and made us forget all the weaknesses of this production. Ettinger draws all they can give out of orchestra and singers, to the top of their musical ability and senses. Sometimes he tries a bit too hard, but I am sure that with some more experience, all his talent will flow with the exceptional musicality that we witnessed here. A promising opera conductor was born…”

Operatic Requiem Mozart Requiem - the very sound of these two words never fails to evoke deep emotions. This piece has rightfully earned its place in the center of the history of Western music. The Jerusalem Symphony Orchestra chose to end the festival with this piece, and the public have spoken their minds - this time in favor - and a second concert was added to the one originally planned. And no-one was disappointed - thanks to the beautiful playing of the orchestra, the professional performance of the choir, and above all, due to the overwhelming show of the star of the evening - Maestro Dan Ettinger. His musical capabilities are apparently endless: Singer, Pianist, Cembalist - this time he picked up the baton, and effortlessly curled the Requiem around it like butter: without force, without effort, with total control, clear technique, a full understanding of the musical interpretation, and no problem whatsoever in accomplishing all of it. Under Ettingers baton, the Requiem was perceived with a dramatic and bright undertone, and whoever thought this would be a dull, dark or melancholic evening, was disappointed. Ettinger chose to show the operatic side of the Requiem, dwelling in the rich melodies, and not stopping short of unusual fermatas and frequent tempo changes. Noam Ben-Zeev - Ha'aretz

Birth of a Talent "…What a joy it is, to listen to a young Israeli conductor, gifted with so much musicality, finesse, and talent. Conducting Mozart's Requiem, in a day of CD recordings and a plethora of concerts is more than a challenge - it can even become an obstacle…" "…We've heard thousands of interpretations of this work, and yet, Ettinger succeeded in turning this one (with the help of the Swedish choir, the Jerusalem Symphony orchestra, and the 4 soloists) into a very personal performance. Even extraordinary! …" "…Ettinger, who was a singer himself, managed to exert wonders from the choir in the Dies Irae, and in the Lacrimosa, the most touching of choral movements in the Requiem. …All in all, Ettinger is energetic, with a rich body language, and great, majestic movements. He has full control over himself, and the orchestra is more than willing to follow his lead wherever he might go…" Ora Binur - Ma'ariv evening paper -

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"…The Mozart evening - Vesperae Solennes de Confessore and Requiem, with the Jonkoping choir form Sweden, conducted by Dan Ettinger - was the crowning glory of the Jerusalem Symphony Orchestra's Liturgica." "Ettinger created immense energies and drama and above all, a spirit of gripping tension and involvement…" "… it was a profoundly exciting inspiring performance of these great works…" Ury Epstein, Jerusalem Post 8.1.2001

"...We should better wait for Danny "The Magician" Ettinger, who makes each and every orchestra take off..."

Dan Ettinger conducts Rossini "Dan Ettinger on the podium, as usually, creates magic with the Rishon Le Zion Symphony. Under his light and precise baton the orchestra sings carelessly. Ettinger's phrases are long and meticulously polished in details, his breath is deep, and already the overture sounds as a promise of joke - a bit scary and mysterious, but first and foremost elegant and funny. He is clever without being heavy and he is merry without being vulgar. This merriment spills out from the pit on to a stage, puts everything in motion, making you forget immediately that "L'Italiana" is far from Rossini's best operas…" -- Maxim Reider Jerusalem Post, May 28, 2000

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