“Peter Freisinger’s art is evident in every aspect of the Freisinger Chamber Orchestra’s performances: In his presence at the podium–energetic, the conducting is expansive and graceful, stopping just short of balletic–and in his programming, which includes discussions with the featured living composers…”

“Peter’s musicality cannot be missed. With great sensitivity he finely shaped the folk speech of the Goleminov orchestral pieces. His operatic flair displayed as piano accompanist for Bizet, Puccini, and Mozart, was everywhere in evidence.
Throughout the program, a youthful orchestra followed Freisinger’s moves to a T.”

“A crowded and appreciative sanctuary welcomed the ensemble for a concert of mostly staid programming: Mozart, Beethoven, and arias by Thomas, Donizetti, and Leoncavallo. But, it also featured the world premiere of an FCO commission, Aaron Rosenberg’s “To Finish the Moment.” Staid is not the right word for the execution of Mozart’s Symphony No. 29. Vividly articulated, the performance fully exploited the ensemble’s range and color…”

“Maestro Freisinger exudes congeniality both on and off the podium. His conducting style appears to be of the ‘broad brush’ (or ‘broad baton’) variety, with sweeping, balletic gestures and barely contained enthusiasm. (Oddly enough, he was actually baton-less during the first two sections.) His tempi were consistently brisk, energetic, and appropriate; his innate musicality readily apparent. An accomplished pianist, organist, violinist, and violist, Herr Freisinger appeared at times as if he were about to reach out and actually play some of the notes himself.”

“…extremely musical and uplifting, a triumph of highly spirited and passionate music making. Certainly a treat to experience such an energetic rendition of such unparalleled music.”

“I have immensely enjoyed all the Freisinger Chamber Orchestra concerts but the performance of Bach’s St. John Passion undoubtedly had to enter into the superlative category. From the first notes one could feel that something special was happening. There was a palpable intensity in the orchestra and chorus that was transmitted to the audience. One would have thought that with the diminished orchestral and choral forces that the concert would still be excellent but would not enter into dimensions of sublime spirituality. Instead the orchestra and chorus sounded full bodied and more importantly had an intensity that entered into that raw nerve, spine tingling, misty eyed dimension that unfortunately only too rarely happens in a concert. Saturday’s concert was one of those rare events. It was an experience where one could feel the presence of higher forces in one’s internal being, regardless of one’s religious affiliation or philosophical outlook on life. Kudos to Maestro Freisinger, the orchestra, soloists, and of course, to Johann Sebastian Bach for a concert that must have made an indelible impression on the mind of everyone present.”

Now that a little over a week has passed since the day of the concert I feel a need to write you in order to express my deepest appreciation for your impeccable musicianship, enthusiasm, and indefatigable energy. I have just listened to the recording of my little Concerto again and, I must say how unfair it would be to characterize this performance as having been merely “pulled off” (I am quoting you!). No! This was a wonderful, spirited, MUSICAL performance, with style, energy and understanding of the score which I find remarkable, especially considering the severe time constraints you have been working under.

Thank you for making this performance (and the existence of the piece itself) possible!

“Playing in your orchestra definitely helped me become a stronger orchestral player.”

“The best reading orchestra I’ve ever played in.”