GordonGERRARD conductor


The youthful yet obviously talented conductor, currently with the Vancouver Symphony Orchestra, was again a welcoming face from the stage and demonstrated the same class and accessibility that he showcased his last time here.

Christopher Tessmer, Regina Leader-Post

The conductor here, by the way, was Bramwell Tovey’s understudy Gordon Gerrard, and he was in especially good form in the piece that opened the second half of the program, Sofia Gubaidulina’s Descensio. Taken too fast, this invocation of the sacred would be meaningless; too slow, and it would bore. Gerrard got it just right, nailing the mystical Russian’s invocation of the Holy Spirit and all of the raptures that followed.

Alexander Varty, Georgia Straight

Again having Gordon Gerrard at the HPO podium insured a faultless musical accompaniment.

Il Barbiere di Siviglia, Hamilton
Danny Gaisin, Ontario Arts Review

Gordon Gerrard paid close attention to the singers and made every effort to project the refinements of the score in matters of dynamics, character and tempo.

La Bohème, Calgary
Kenneth DeLong, Opera Canada

Conductor, Gordon Gerrard and Stage Director, Robert Herriot delivered a near pitch perfect production that not only allowed for the required suspension of disbelief, but invited the audience on a transformation to a place of moving heart-tugging reality.

La Bohème, Calgary
Jessica Golman, www.applause-meter.com

Gordon Gerrard dirige l'excellent orchestre et accompagne les récitatifs au clavecin; sa synchronisation des grands ensembles vocaux est parfaite.

Don Giovanni, Montreal
Claude Gingras, La Presse

If you’re accustomed to a Rossini with massive tongue-in-cheek chords and full throttle momentum, you’ll find conductor Gordon Gerrard’s twenty-five member orchestra concealed in the pit of the Dofasco Centre for the Arts a constant revelation of the composer’s mind. The orchestra has a chamber dimension to it and thus we become more aware of Rossini’s methods in construction of effects.  Interaction of instruments, contrapuntal surprises, placement of distinct tones, subtle shaping of lines all make the band in the pit, through characterizing specifics of orchestration, into an organic character as much as those on stage. We get to hear exactly why Rossini is musically such a fun guy.

Il barbiere di Siviglia, Hamilton
James Strecker Reviews the Arts

Right at the outset, the overture is conducted by the much-travelled Gordon Gerrard for a lightness of energy and buoyancy of momentum, rather than the punctuation of grand musical lines with big chords of which, in Mozart, there are many. Such assertive understatement, in turn, welcomes many nuances in singing at which this vocally-notable cast excels.

Le Nozze di Figaro, Hamilton
James Strecker Reviews the Arts

The production, skillfully conducted by Gordon Gerrard…took the audience deep into the heart of Ravel’s fanciful treatment of childhood.

L’enfant et les sortilèges, Calgary
Calgary Herald

The orchestra…is required to do many things beyond the range of normal orchestral playing. It provides music in its normal sense, as well as special effects born of contemporary theatre. All these elements are smoothly handled by Gerrard and the orchestra, the accompaniment a strong aspect of the production.

Little Women, Calgary
Calgary Herald

Gerrard, who clearly knows his business, conducted the production sensitively.

Béatrice et Bénédict, Calgary
Opera Canada

Under the baton of Gordon Gerrard of the Calgary Opera, the accompaniment was a skillful and positive feature; never overpowering the singers.

Le Nozze di Figaro, Hamilton
Ontario Arts Review



May 22 | 2016

Symphony at the Annex:

The Elusive, Imaginary Future

Vancouver Symphony Orchestra

More Info



August 5-13 | 2016


Kammeroper Schloss Rheinsberg

Rheinsberg, Germany

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