Reviews

COSI FAN TUTTE - MAGGIO MUSICALE FIORENTINO

Roland Böer conducted the Maggio Musicale orchestra in a brisk, polished performance with masterly control of the dynamics, as he also accompanied the recitatives at the fortepiano.

Opera Magazine, December 2015

TURANDOT - OPÉRA DE NICE

A nice surprise in the orchestra pit too, with the conducting of Roland Böer, who does not confuse Puccini’s last masterpiece with the most glittering specimens of verist aesthetics.

His merit is in adopting an interpretation that resists any demand to betray the style, which is at times dramatic, but always respects the diaphanous nuances of a score dating from the same period as Alban Berg’s Wozzek. With the help of the Nice Philharmonic, which was on top form, the conductor delivered a personal orchestral creation – inspired, fragrant, colourful, with a quality of phrasing that preserved the dignity and charm of the music. Never has the orchestral and choral richness of the music been as sumptuously exalted.

Christian Colombeau, Le podcast journal, 14th November 2014

 

A wonderful Turandot

(.....) All this is accompanied by outstanding performances from the chorus of the Opéra and the conducting of Roland Böer, at the head of a very good Orchestre Philharmonique. Turandot has opened the Nice Opera season with a bang.

André Peyregni

 

 

Turandot is also an opera written for choirs, and here we have a wonderful moment of homogeneity and spontaneity, with the accompaniment of the Orchestre Philharmonique de Nice and the breathtaking conducting of the excellent Roland Böer. An interpretation not to be missed.

Gérard Léopold di Offite, Magazine des arts et des spectacles, 13th November 2014

 

 

(...) whilst at the conductor’s desk of the Orchestre Philharmonique de Nice, the German conductor Roland Böer demonstrates that the modernity of Puccini and Berio hold no secrets for him. His vibrant and varied interpretation, with its extraordinary finesse of colour and faultless technical mastery, contribute hugely to the success of the evening.

Emmanuel Andrieu, Opera Online

 

 

In the pit, Roland Böer knows how to imbue the Orchestre Philharmonique de Nice with the lyricism and audacity that are essential to this work.

Caroline Boudet-Lefort, Artcotedazur.fr

Adriana Lecouvreur - Opéra de Nice

Though I can’t comment on regular orchestral standards at this adress, it was clear that Böer was drawing an exceptional performance from the players – and local reviews raved about him transcending the levels normally heard here. By any standards, he drew a wonderful account of the score that had theatrical bustke from the start and also caught the sadness and wilted quality inherent in the music. His generous, flowing gestures gave him strong control of the cast and orchestra, and room for flexibility in a score that is more subtly woven than the typical verismo products of Cilea’s contemporaries. He exploited all the music’s colours and encouraged the orchestra to relish the full-toned possibilities of the Judgement of Paris divertissement.

John Allison, Opera, June 2014

 

L’Orchestre Philharmonique de Nice was under the excellent leadership of conductor Roland Böer, who really did justice to the brilliant score of Francesco Cilea.  

Channel Riviera, 17 March 2014


The very Germanic conducting style of Roland Böer really comes into its own here: a passionate exactitude both in the total accuracy of the performance of Orchestre Philharmonique de Nice and the implacable entrances and accompaniment of the actors on the stage. The maestro laudably maintains the pace of the drama, with never any feeling of lassitude or impression of slowness. The only disadvantage in this praiseworthy performance was that this driving forward of the orchestra, similar at times to the style of Leonard Bernstein, deprived the audience of an opportunity to display their enthusiasm with spontaneous applause after certain arias.  

Jean-Luc Vannier Musicologie.org, 16 March 2014


The Philharmonic Orchestra of Nice was in dazzling form and played as never before: transcended and transcendent. The sound emanating from the orchestra pit was simply amazing. The German conductor, Roland Böer, lyrical, elegant, never insistent, attentive to the voices, can be proud of his work. 

Christian Colombeau, March 23 2014  (Article also appears in Anaclase, la musique au jour le jour.)


A great thrill, a tear in the corner of the eye, choked with emotion….recent performances of Adrienne Lecouvreur (Cilea) at the Opéra de Nice realised all the hopes of opera devotees, who are constantly searching for strong sensations that only this medium can procure. The great artisan of this exceptional success is called Roland Böer. The young maestro, chosen by the musicians of the Orchestre Philharmonique de Nice, gave an in-depth performance, exploring every detail of this masterpiece of verismo, including every nuance and providing a rich, flowing and colourful orchestral accompaniment to the beautiful voices on stage. 

nicecotedazur.org

 

„Adriana Lecouvreur“ should be showered with praise. Roland Böer’s conducting is excellent.

André Peyregne, Nice Matin, 18 March 2014

SYMPHONIC CONCERT Staatsorchester Braunschweig

Thanks to Roland Böer’s unpretentious organisation, the Braunschweig State Orchestra and soloists performed the highly emotional tales (the double concerto for trumpet, timpani and orchestra) by Siegfried Matthus with expressive temperament.

Böer let the orchestra play with beautiful vividness and precision.

Andreas Berger , Braunschweiger Zeitung , 21 October 2013

 

It was actually the first time Roland Böer conducted the Braunschweig State Orchestra (and hopefully not for the last time in Hameln). Throughout his career, he gained extensive experience with major European orchestras and has developed a conducting style completely focused on the essential gestures . There is no place for show effects, but for temperament in all directions - which leads to high voltage on the podium and in the audience, which ultimately contributes to the success of a concert evening like this. The State Orchestra presented itself as an attentive partner and always found to the beauty of sound even in passages of high sonority. (...) The enthusiastic applause for the orchestra, soloists and Roland Böer was well deserved.

Karla Lange Hein, ELO , 24 October 2013

IDOMENEO - Opera Frankfurt, September 2013

The Frankfurt Opera and Museum Orchestra under the direction of former Kapellmeister Roland Böer gave a fluent and pithy performance with clear-cut accents and historically informed.

Guido Holze, Frankfurter Allgemeine Zeitung, September 17, 2013

 

Den hintergründig, frischen Zügen der Idomeneo-Partitur spürte das ungemein konzentriert, klangschön aufspielende Frankfurter Opern- und Museumsorchester bestens nach. Unter der Leitung von Roland Böer artikulierten  sich die Streicher in feinen Piani, in bester Disposition musizierten die Bläsersegmente und formierten sich zum eleganten, temperamentvollen Mozartklang. Böer erwies sich zudem als versierter Sängerbegleiter gleichwohl in der intensiven Gestaltung der Rezitative und den nervig, akzentuierten Abläufen. Orchestrale Glanzleistung (...)

Gerhard Hoffmann, Der neue Merker, September 2013

 

Die musikalische Umsetzung fügt sich gut zur Szene. Schon die ersten Töne der Ouvertüre zeigen an, daß es in den folgenden drei Stunden ungemütlich werden könnte. Roland Böer läßt das gut aufgelegte Opernorchester kraftvoll und energisch aufspielen. Hier ist keine verzärtelte Rokoko-Gemütlichkeit zu erleben, sondern ein aufgewühltes Sturm-und-Drang-Drama. Akzente werden stark herausgearbeitet, dynamische Kontraste ausgekostet. Der dadurch in einen Zustand nervöser Daueranspannung versetzte Zuhörer nimmt dann umso dankbarer die zarten Töne und delikaten Bläsersoli zur Kenntnis, die Böer ihm gelegentlich in kleinen Inseln der Ruhe gönnt.

Michael Demel, Der Opernfreund, September 2013

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Biography

Roland Böer studied piano with Theodora Lungu and Edith Thauer, composition with Claus Kühnl and Heinz Winbeck as well as conducting with Günther Wich and Peter Falk at Dr. Hoch’s Konservatorium Frankfurt and the Staatliche Hochschule für Musik Würzburg.

He took part in masterclasses with Karl Österreicher and Hans Graf in Vienna.

After his first engagement as repetiteur at Oper Frankfurt 1996-1999 he worked as repetiteur and house conductor at Deutsche Oper am Rhein in Düsseldorf/Duisburg and at the same time was assistant to Antonio Pappano at the Bayreuth festival, at Teâtre de la Monnaie in Brussels and the Royal Opera House Covent Garden in London. 2002-2008 he was Kapellmeister at Oper Frankfurt.

Since 2009 Roland Böer holds the position of the music director of the „Cantiere Internazionale d’Arte“ in Montepulciano. Since 2015 is is also the artistic director.

As an internationally sought-after guest conductor he has been working at Teatro alla Scala in Milan, the Royal Opera House Covent Garden and the English National Opera in London, at Théâtre del la Monnaie in Brussels, at Deutsche Oper and Komische Oper Berlin, the Royal Opera Stockholm and Copenhagen, at Opéra National du Rhin in Strasbourg and Opéra de Nice as well as at Stadttheater Bern and the Vienna Volksoper.

He conducted the Filarmonica della Scala and the orchestra Accademia di Santa Cecilia, the London Symphony Orchestra, the Oslo Philharmonic Orchestra, the Radio Symphony Orchestra Frankfurt, Bamberg Symphony, das Royal Liverpool Philharmonic Orchestra and the Orchestre Philharmonique de Luxembourg, the Deutsche Radio Philharmonie and the Bournemouth Symphony Orchestra.

He worked with Ensemble Modern, Northern Sinfonia, the Scottish Chamber Orchestra and the Deutsche Kammerphilharmonie Bremen.

He recorded for EMI and Opera Rara (both with the Philharmonia Orchestra London), for BBC Scotland (with the BBC Scottish Symphony Orchestra) and the Bayerische Rundfunk (Bamberg Symphony).

A DVD with Roland Böer's debut at Teatro alla Scala with „Die Zauberflöte“ (production by William Kentridge) has been released by OPUS ARTE.

2015 he conducted the revival of Peter Konwitschny's „La Traviata“ at English National Opera and made his debut at the Hungarian State Opera in Budapest with „Il Barbiere di Siviglia“. Most recently he conducted Giorgio Strehler's production of „Le nozze di Figaro“ at Teatro dell’Opera di Roma.

Future engagements include „Cosi fan tutte“ at Opera di Firenze and his concert debut with Maggio Musicale Fiorentino, Mahler's 5th Symphony, his comeback to Opéra de Nice for „Death in Venice“, „Nabucco“ at Teatro Petruzzelli in Bari and „Elektra“ at the Czech National Theatre Prag as well as „Eugen Onegin“ at English National Opera in London.