Roméo et Juliette

L’Orchestre de Chambre de Genève
Ensemble Vocal de Lausanne
Janvier 2023

Forumopéra —  » the gesture of an opera conductor

From the prelude, the french flavor of the brass, the shades of the choir (who picks up the prologue of Shakespeare (« Dans Vérone, deux familles rivales »… « Juliette parut et Roméo l’aima »…), the entrance of the cellos « Ô ma femme » which will come back at the beginning of the third act (the awakening of the lovers), to the tomb scene, and its reprise, generously phrased by the strings, the soaring of the waltz, more subtle, more aristocratic than that of Faust, everything implies the (smiling) authority of Marc Leroy-Calatayud, who just recently told us how much he loves conducting operas. We often see him turn around partly to lovingly look at his singers, and above all, to follow them, to accompany them, to let them lead the game (before, smoothly, reclaiming the leadership). 

[…] At the beginning of the second act, the nocturnal orchestral part, bathing in bluish light, is an enchanting moment of sound poetry: the translucent tenderness of the muted pianissimo violins atop the arpeggios of the harps, in a dilatory yet assumed tempo, succeeded by a delicate crescendo in the flute and the woodwinds. The Orchestre de Chambre de Genève had obvious pleasure in following the imagination of its young conductor.

[…] Marc Leroy-Calatayud, clearly a great opera conductor, makes his orchestra whisper in the stride of this delicacy.

[…]One last kiss, one last unison on « Seigneur, pardonnez-nous » and an ultimate grand gesture to the orchestra from Marc Leroy-Calatayud, intense, lyrical, magnificent. A well-deserved triumph. « 

Forumopéra, 13 janvier 2023, C. Sigel

« The choir and the orchestra are placed under the direction of Marc Leroy-Calatayud, Associate conductor of the OCG for the 22-23 season. The young conductor lovingly conducts a score which he loves and knows perfectly (he sings nearly all the lyrics of the libretto whilst conducting) : from captivating preludes which immerse one into the heart of the tragedy in an even more enthralling way still, to the rise in power of the drama in the third act, all is superbly carried out. Above all, the elegiac parts — specifically, the love duos — possess all the required tenderness and subtle sensuality. »

Première loge opéra, January 13, 2023, S. Lelièvre

« Taking up the biggest part of the stage, the Orchestre de Chambre de Genève excels under the attentive and musical baton of the young conductor Marc Leroy-Calatayud. He rapidly tempers the brass section of the OCG who monopolize the music in the opening of the prologue, and concerns himself with the singers at every moment. Many times, we see him turn around, to shape a dynamic, a prolonged note, or the beginning of a phrase. »

Resmusica, 13 janvier 2023, J. Schmitt

« To conduct this bright and lyrical work, Marc Leroy-Calatayud, a young conductor originally from Lausanne, was standing on the podium.  As a connoisseur of french music from the 19th century, style he has already worked with many times, he manages to extract a beautiful sound from the orchestra, despite the very mediocre acoustics of the hall. […]. Conducting an opera in concert version with the singers standing behind one is no easy task, but the conductor succeeds with ease. »

Le Temps, 11 janvier 2023, J. de Banes Gardonne

O mon bel inconnu

Opéra de Tours
Décembre 2022

« Despite the Ouverture being very (too) short, it sets the tone of the evening: the music will be performed without timeouts. Marc Leroy-Calatayud, who is on the podium for this series, is attentive to everything that takes place on stage and securely conducts the Orchestre symphonique région Centre Val-de-Loire / Tours; the dynamics are nearly perfect since the singers are never overpowered. The tempos are ideal and the young conductor proves with brio that he has perfectly understood the very spirit of Hahn’s work. »

TouteLaCulture, 20 décembre 2022, H. Biard

« Bringing a wonderful vitality to the score, Marc Leroy-Calatayud conducts the Ouverture aflame with passion, before adjusting the sounds of the Orchestre symphonique région Centre Val-de-Loire / Tours, a touch too generous in the breakfast scene. The finale of Act 2 (« Partons ! »), particularly spirited, and whose music is similar to the third act finale (« Partez! ») is a gem we don’t lose a word of. Chapeau, Aubertin would say! »

Diapason, 19 décembre 2022, F. Laurent

« In the pit, Marc Leroy-Calatayud brings out all the refinement of Reynaldo Hahn’s music: with the exception of certain more rhythmic pages (the aria of Félicie and her duet with M. Victor, the ensembles concluding the second and third acts), the score itself is rather sweet and dreamlike, aspects which the Orchestre symphonique région Centre-Val de Loire/Tours perfectly does justice to. » 

Concert Classic, 19 décembre 2022, L. Bury

Gala Benjamin Bernheim

Orchestre National du Capitole de Toulouse
July 2021

« At the head of the Orchestre national du Capitole, the young conductor Marc Leroy-Calatayud sets out to carve this rare work […] with as much care and love as if it were was a confirmed masterpiece: airy sound textures, assured and precise rhythmic, quivering sensitivity, such are the interpretive characteristics that his baton exudes to this little symphonic jewel. »

Théâtre du Capitole, Toulouse / E. Andrieu, Opera Online, 22.07.21

Un Elixir d’Amour

Théâtre des Champs-Elysées
February 2021

“Leading the Orchestre des Frivolités Parisiennes, in a reduced version, Marc Leroy-Calatayud highlights all the nuances of Donizetti’s colourful instrumentation in a display of rare elegance.”

Opéra Magazine, Mars 2021, A. Caron

“Marc Leroy-Calatayud’s conducting is invigorating and attentive towards the joyful troupe on stage.”

TouteLaCulture, Avril 2021, P. Fourier

Il Barbiere di Siviglia

Opéra National de Bordeaux
February 2019

“Marc Leroy-Calatayud’s spirited and lively conducting imprints energetic tempi as well as clear and refined gestures. We are charmed by his communicative enthusiasm: his talent is absolutely something to keep an eye on.  If Marc Leroy-Calatayud manages with simplicity to polish one of the most-played opera scores, let him promptly breathe new life on rarities.”

ClassiqueNews, P. Diaz 14/02/2019

“[…] the choir reacts to the Rossinian fluency that Marc Leroy-Calatayud pulsates from an elevated baroque pit. Rhythms and colours become sharper, the irony more biting, under his lively and energetic conducting.”

Toutelaculture, G. Charlassier, 15/02/2019

Mârouf, Savetier du Caire

Opéra National de Bordeaux
February 2018

« The young man conducts from the pit with flawless, flexible technique and dedication, highlighting the warm oriental colours, the cheerful rhythms as well as the bright fanfares from the orchestra […] »

Ôlyrix, C. Arden, 12/02/2018

« Last but not least, the Bordeaux audience acclaims with enthusiasm the qualities of young french conductor Marc Leroy-Calatayud […] »

ClassiqueNews, E. Andrieu, 14/02/2018

« The young conductor’s precise and energetic gestures […] highlight the richness of instrumentation and its orientalist effects. »

Toutelaculture, G. Charlassier, 13/02/2018