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The New York Times
  • 2019.12.05, Anthony Tommasini (archive): Heartbeat Opera is far more unusual in its tweaking (and trimming) of librettos and its reorchestration of scores. ...the music director, Daniel Schlosberg, has effectively transformed Weber’s colorful score for seven players... Schlosberg has transformed the orchestration into a collage of electronic and acoustic sounds, in effect a recomposition... Heartbeat’s production team wanted to delve into the work’s disturbing, timely subtexts by streamlining and modernizing it. They succeed. ...By keeping the music in the original language and style, the contrast between American ambience and classic Romanticism made a powerful impact. Here was a rare presentation of the work that would define 19th-century German opera, made topical in a way that both respected Weber and stretched him.
  • 2019.01.20, Anthony Tommasini (archive): The excellent and adventurous young musicians of Cantata Profana gave a rare and quietly riveting performance of Mr. Sciarrino’s strange piece
  • 2018.05.04, Ryan Ebright (archive): To bring [Fidelio] to life in the era of Black Lives Matter, ...Heard and Schlosberg are setting their production within today’s American criminal justice system. ...Schlosberg has arranged Beethoven’s score... to emphasize musically the opera’s story of heroism amid darkness
  • 2017.05.24, Anthony Tommasini (archive): The devotion of [Heartbeat Opera] to Puccini’s music was evident in the sensitive arrangement of the score (by the co-music director Daniel Schlosberg), richly detailed yet delicate... I found the jazz-infused arrangement very insightful into the colorings and seductive allure of Bizet’s score. [Schlosberg] also played a mean accordion
  • 2017.05.17, Mary von Aue (archive): In Mr. Schlosberg’s arrangement of the score for an intimate ensemble... the haunting melody of the “humming chorus” gives way to a dream sequence, assembled from scenes of Puccini’s Act I. 


WQXR
  • 2017.05.23, David Patrick Stearns (archive): ...if there was a miracle here, it was the orchestral adaptation. ...so smart was was the use of the string ensemble in this Daniel Schlosberg adaptation



New Yorker
  • 2019.12.02, Oussama Zahr (archive): Heartbeat’s secret weapon... may well be the chamber orchestrations of its efficient co-music director and arranger Daniel Schlosberg, who leads members of Cantata Profana and an alternating cast of singers in Weber’s moody score
  • 2018.05.28, Alex Ross (archive): Schlosberg... has a flair for cutting and repurposing famous operas without mangling them
  • 2017.05.31, Russell Platt (archive): The orchestra is cut down to an arrangement (by the composer Daniel Schlosberg) for harp and string quintet that recalls the mellifluous elegance of the original  
  • 2016.04.04, Alex Ross (archive): Schlosberg’s scoring—whistling tones of bowed vibraphone and cymbals, the harplike sound of strummed piano strings, the slide of a shot glass on an electric guitar—put a modernist frame around the action, although the substance of Donizetti’s score came through
 


The Wall Street Journal
  • 2019.12.09, Heidi Waleson (archive): the show’s most inventive elements are musical: Daniel Schlosberg’s lively arrangement for seven instrumentalists (most of whom double or triple), and the recomposition of the supernatural Wolf Canyon scene, for which Mr. Schlosberg and William Gardiner devised a creepy electronic soundscape of noises and wails that would do nicely for a horror movie. ...Mr. Schlosberg’s deft arrangement and his fine ensemble, which he led from the keyboard, supplied a lot of entertainment
  • 2017.05.07, Heidi Waleson (archive): Schlosberg, the company’s co-music director, created ingenious seven-player arrangements of their orchestral scores, including some artful transitions
  • 2016.03.14, Heidi Waleson (archive): ...ingenius rescoring by Schlosberg
  • 2015.04.01, Heidi Waleson (archive): ...[Schlosberg’s] witty five-instrument arrangement



Broadway World
  • 2019.12.10, Richard Sasanow (archive): the score was arranged (and conducted) by Daniel Schlosberg, a performance artist in his own right, for a handful of instrumentalists and electronics, with some of the most imaginative doubling you'll ever hear from the pit band at an opera. Schlosberg and William Gardiner recomposed what is probably the opera's most notable scene, set in Wolf Canyon: seamlessly, effectively—and terrifyingly—done


Schmopera
  • 2018.10.29, Lara Secord-Haid (archive): ..."Feed the Snakes" by Daniel Schlosberg [is]... heartbreakingly lyrical


New York Classical Review
  • 2019.01.05, David Wright (archive): Schlosberg... brought a marvelous variety of touch and play-anything technique 


Seen and Heard International
  • 2019.01.06, Rick Perdian (archive): Schlosberg was the superb pianist, capturing the fleeting emotions of the [Ned Rorem’s] songs as deftly as Rosen and performing the dramatic Interlude at the apex of the cycle with virtuosic aplomb


Oregon Arts Watch
  • 2017.08.04, Matthew Andrews (archive): ...the extra creepy, cosmic-horrific, mind-breaking Twin Peaks... manifest in ways the original could never quite delve into deeply enough. ...an imaginary episode of Twin Peaks directed by a skilled young composer [Daniel Schlosberg].. everything feels darker, slower, stranger, a little more mysterious and a lot more disturbing.