Hugo Weisgall

Mr. Weisgall is a tremendously gifted and vital composer, unquestionably one of the finest in the American lyric theater.
–The Baltimore Evening Sun

ESTHER
Weisgall’s opera, atonal and decidedly modern, balances a lack of centeredness and musical comfort with his use of lush timbres and textures. He uses familiar forms, like the aria, duet and trio, to create a flowing, well-paced musical narrative.
–Ronni Reich, New Jersey Star Ledger

The composer’s triumph could not have been more complete. One hopes [Esther] will return in following years.
–Edward Rothstein, The New York Times

Esther…is a compelling grand opera. It is powerful dramatic music…masterfully written…
–Mary Campbell, Associated Press

What matters most is that City Opera has again made a case for a challenging work that deserves an honored place in the 20th-century repertory. The score is rich with aching chromatic harmonies…In crucial moments Weisgall allows sturdy tonality to sof
–Anthony Tommasini, New York Times

…an impressive piece of work. Its strength begins with a powerful English-language libretto by Charles Kondek… Weisgall’s music, though challenging for an audience accustomed to hearing conventional tunes and harmonies, is grand and ambitious. Ther
–The Associated Press (New York)

Hats off, gentlemen. An opera.
–Martin Bernheimer, Los Angeles Times

Weisgall’s score is thorny, modern and uncompromising. Yet he had a keen feeling for drama and deployed his complex harmonic language in a masterly, vividly dramatic way.
–Anthony Tommasini, New York Times

Esther is one of the very finest American Operas we have…
–Peter G. Davis, New York Magazine

The stark and uncompromising Esther is a powerful evening of musical theatre.
–Michael Walsh, Time Magazine

“Esther”…has everything an opera should have: an absorbing story, fine singers, intelligent music, a smoothly danced ballet, and striking sets. If you’re not stuck on old-fashioned opera, you should definitely see “Esther”…
–Warren Boroson, Jstandard.com

“Esther” is stageworthy and enjoyable… Mr. Weisgall wrote big: dramatic orchestra, lamenting Verdian choruses, lots of declamatory vocal lines.
–Heidi Waleson, Wall Street Journal

SIX CHARACTERS IN SEARCH OF AN AUTHOR
Mr. Weisgall is clearly a theatrical technician of the first rank.
–Howard Taubman,, New York Times

The music offers much to admire: singable vocal lines and distinct characterizations for each of the protagonists, plenty of rhythmic punch, harmonious choruses, light and colorful orchestration with some delectable work from the woodwinds, and an instinc
–Shirley Fleming, New York Post

Six Characters is a virtuoso manipulation of closed forms, vocal types, dramatic timing, and other techniques that traditionally propel an effective opera… At one moment, the score is deliciously satirical, sending up the antics of the ego-mad creatures
–Peter Davis, Classical Music

…a brilliantly theatrical treatment of Pirandello’s illusion-reality play…Weisgall breathes new life into the celebrated roles of his six characters, assigning each a distinctive vocal style and energizing his situations through an exuberant succession of
–Harold Blumenfeld, Los Angeles Times

…a real and exciting opera, powerful in its own right…well worth repeated hearings.
–Paul Hume, Washington Post

…a work of great originality and superb craftsmanship, and certainly, if there is any musical justice, it will be kept in the repertory until it is recognized for what it is…a major achievement of the contemporary musical theater.
–Richard Franko Goldman, The Musical Quarterly

THE GARDENS OF ADONIS
The Gardens of Adonis stands out as an unusual, beautiful and provocative work of musical art.
–Bruce Saylor, Opera News

THE STRONGER
It is a fascinating little work, with constantly changing emotions, a superbly expressive vocal line and colorful comments from a seven-piece orchestra.
–Joseph McLellan , Washington Post

Mr. Weisgall…has no fear of dissonance. Yet he manages to make his music accessible and appealing…he successfully translates Strindberg’s play to an American context…Compact (25 minutes) and direct, “The Stronger” sets a complete and satisfying musical-dr
–John Rockwell, New York Times

THE TENOR
…well-written, full of fine music…The score uses a chamber group in a rich variety of ways; at times it sounds like a full orchestra…
–Henry Cowell,

WILL YOU MARRY ME?
[Weisgall] is someone who knows opera, who has thought deeply about what opera in our day can and should be. His music engages the mind in ways that make one want to hear it again. Wesigall is an urbane, sensitive and thorough composer.
–Andrew Porter, The New Yorker and The Financial Times

…evocative and canny. [Weisgall’s] handling of text… is exemplary. What a pleasure it is to hear a master at work!
–Patrick J. Smith, Opera News

Mr. Weisgall’s music captures our attention, …catches our ear and keeps it attached to what he is doing.
–Bernard Holland, New York Times

Will You Marry Me? …is a short opera…that is an unalloyed delight. All small companies extant should now look seriously into producing Will You Marry Me?
–Bert Wechsler, New York Daily News

Will You Marry Me? (is) a deliciously paradoxical character study of two marriageable schemers. The two one-act operas (premiered with The Stronger) make an ideal pair. The text and music of both have a martini-dry thirties urban tone that masks the real
–Peter G. Davis, New York Magazine

Ford Foundation award
National Endowment for the Arts award
Guggenheim Foundation award
Two-time composer-in-residence at the American Academy in Rome
President of the American Music Center for 10 years
President of the American Academy and Institute of Arts and Letters
Director of the Composer-in-Residence program for the Lyric Opera of Chicago