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  26 Jul 19 Verdi Luisa Miller
  Liceu Barcelona

  “The Venezuelan conductor Domingo Hindoyan was a true bright light in the pit, by giving an exciting reading of the score, playing with extreme tempi […]  and finding a perfect balance between the orchestra, chorus, and soloists in the ensembles.
  Mauricio Villa, operawire

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  06 Apr 19 Puccini Turandot
  Wiener Staatsoper

  “The orchestra, under the direction of Domingo Hindoyan, finds a sensual Puccini sound, charged with static. In the run-up to the impending riddle scene, [Hindoyan] creates tremendous tutti strokes with moments of breathtaking intensity. He creates chamber music with brilliant coloured passages of finesse, and the Vienna State Opera Chorus produced atmospheric density both on stage and off-screen.”
  Thomas Gehrig, klassik.com

  “It was an evening of role debuts in the house […] thanks to conductor Domingo Hindoyan, it was a musically opulent and entertaining evening.

  Wiener Staatsoper conductor Domingo Hindoyan gives Turandot fire and speed with the orchestra, reminiscent of a Karajan Maazel interpretation.”
  Thomas Gabler, Kronen Zeitung

  “Domingo Hindoyan, making his debut at the Wiener Staatsoper, insists on strict yet intense agogic accenting, showing well-balanced dynamics. His direction works well and effectively transmits the emotional intensity of Puccini’s writing.”
  apemusicale.it

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  06 Oct 18 Puccini La bohème
  Lyric Opera of Chicago

  “Venezuelan conductor Domingo Hindoyan made an impressive Lyric debut in the pit, bringing out the best from the company’s orchestra and vibrantly pacing the action. He was at his best during the Act One duet between the two lovers, as he organically responded to and supported these singers.”
  Kyle Macmillan, Chicago Sun Times

  “Conductor Domingo Hindoyan made an impressive Lyric debut leading the orchestra in an accompaniment that was responsive to the singers, with vibrant work from the chorus (prepared by Michael Black) and characteristically nimble and exuberant singing from the Chicago Children’s Choir (led by Josephine Lee) ”
  Chicago Tribune

  “The Lyric Opera Orchestra sounded marvelous under the idiomatic and nuanced baton of Maestro Hindoyan. His sensitive support of the singers brought out the treasures in the score, revealing the joie de vivre of the Bohemians, supplying tight crispness to the opening of Act Two, poignant desperation in Act Three, and ephemeral orchestral textures underlying Mimi’s last moments.”
  Buzz Center Stage

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  03 Apr 18 Haydn, Mozart, Beethoven Symphonieorchester Vorarlberg
  Bregenz Festspielhaus

  “[Hindoyan] lets this music breathe out of itself, gives the musicians the feeling of technical security but with the greatest possible freedom and thus achieving carefree music making.”

  “[Hindoyan] und lässt so diese Musik ganz aus sich heraus atmen, gibt den Musikern das Gefühl der technischen Sicherheit, aber der größtmöglichen Freiheit und erreicht damit ein relativ unbeschwertes Musizieren”
  Fritz Jurmann, Vorarlberger Nachrichten

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  28 Mar 18 Beethoven, Mozart, Schumann Dresdner Philharmonie
  Deutsches Hygiene-Museum Dresden

  “The orchestra and the young guest conductor all found one graceful, vivid rendering of the “Spring” Symphony, which offered both strength and elegance.”
  Mareile Hanns, Dresdner Neueste Nachrichten

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  02 Mar 18 Dvořák & Prokofiev North Carolina Symphony
  Raleigh

  “Hindoyan’s confident leadership inspired the orchestra to gorgeous playing and striking precision. His utter assurance in every measure made it plain that he knew the score well. This allowed him to collaborate with [Johannes] Moser in taking some sections in more extended tempos and others in more animated ones than usually heard, both ably convincing their choices.”

  “Hindoyan returned to conduct a gripping performance of Sergei Prokofiev’s Symphony No. 5 in B-flat, Op. 100 … [Hindoyan] did not try to downplay the work’s savage elements but also made sure the buoyant melodies weren’t slighted. Hindoyan was particularly adept at building crescendos and controlling the extreme shifts in dynamics. He forged the seemingly disparate sections of the first movement into an identifiable arc, made the second movements odd little rhythmic patterns crackle, and shaped the fourth movement’s stirring pageantry with a shinning glow.
  Roy C. Dicks, CVNC

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  16 Jan 18 Donizetti L'elisir d'amore
  The Metropolitan Opera

  “Hindoyan, a Venezuelan conductor, led the always excellent Met Orchestra with an assured baton and had good rapport with the singers onstage. One hopes to see more of him in the Met’s pit.”
  Wilborn Hampton, Huffington Post

  “conductor Domingo Hindoyan, in his house debut, moved things along nicely and drew sharp responsiveness from the orchestra.”
  James R. Oestreich, The New York Times

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  04 Dec 17 Bellini I puritani
  Auditorium Rainer III de Monte Carlo

  “The musical direction of Domingo Hindoyan is inspired, energetic and vigilant.”
  Jean-Luc Vannier, Musicologie.org

  “The Venezuelan conductor – already very popular this summer in Montpellier (when he conducted Giordano’s Siberia) – gives a lively and aerial reading of the score of Bellini, very flexible in the accompaniment of singers.
  Emmanuel Andrieu, opera-online

  “[Domingo’s] rich, precise and generous direction, full of love for this magnificent music, reveals ever-new shimmers and offers a haven of choice not only for the soloists, but also for the excellent choir.”
  José Pons, olyrix.com

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  24 Jul 17 Giordano Siberia
  Festival Radio France Occitanie Montpellier

  “We grasp both the drama and exoticism of this score… Hindoyan demonstrated in Siberia that he has both the gesture and the heart of one of the greatest conductors.”
  classiquenews.com

  “Hindoyan conducts a colorful and rigorous orchestra with clearness and a remarkable attention to detail.”
  Sébastien Foucart, ConcertoNet.com

   

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  09 May 17 Rossini Semiramide
  Opéra national de Lorraine

  “Finally, it is worth mentioning the transcendent quality of the direction of Domingo Hindoyan, who not only made the Nancy Orchestra ring with cohesion and clarity, but also provided unwavering support for the singers. A very skilfully constructed work: a great lyrical conductor.”
  Christian Merlin, Le Figaro

  “Conductor Domingo seemed to have experience or a special affinity for this musical language.”
  Waldemar Kamer, Online Merker

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  18 Sep 16 Puccini Tosca
  Deutsche Staatsoper

  “…thanks to the excellent performances from the cast and Domingo Hindoyan’s splendidly judged pacing from the pit”

  “Under the alert conducting of Domingo Hindoyan special mention has to be made of the playing of the Staatskapelle Berlin producing a quite glorious sound right from the first note to the last”
  Michael Cookson, Seen and Heard International 

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  11 Jan 15 Beethoven The Philharmonia
  Philharmonia Orchestra/Pavel Kolesnikov, Cheltenham

  “Conducting the symphony without a score and with something of the determined focus of his Berlin mentor, Hindoyan carved out a trajectory as deliberate and serious as possible without compromising that dance-like nature.”
  Rian Evans, The Guardian 

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  13 Oct 15 Puccini Tosca
  Berlin Staatsoper

  “The Staatskapelle Berlin was on excellent form, conducted by Domingo Hindoyan with meticulous attention to the details of the score. He had a sweeping vision of the overall arch of Puccini’s music, and at times brought symphonic majesty to the orchestral prelude. The woodwinds and brass were especially impressive in responding to his clear and insightful reading. He was also supportive of singers’ needs to turn the volume down as needed, but let the orchestra blast thrillingly at the end of Acts I and III.  A magnificent job.”
  Bachtrack

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  14 Apr 12 Allianz Cultural Foundation
  Royal Festival Hall, London

  “This suave and self-assured young man, a tall and rangy presence, immediately exhibited his skills in a shapely opening paragraph, the martial atmosphere crisply maintained with a frisson of excitement in the clinching crescendo. Lill is a past master of Beethovenian “distillation” and Hindoyan was at one with him in capturing the mystical spareness of their exchanges in the slow movement.

  Hindoyan has expertise but he has temperament, too, and in Julian Anderson’s Past Hymns it was the Tippett-like fervour of its Spiritual allusions that gave the piece real attitude and took it somewhere else entirely.”
  Edward Seckerson (The Review)