What people are saying...

“I have performed with most of the greatest conductors in the world during my 30
years with the Philadelphia Orchestra and the Boston Symphony.  I would rate
Michael Butterman among the best I’ve ever encountered.”
--Wayne Rapier, former oboist for Boston Symphony and Philadelphia Orchestra

“Michael Butterman is one of the clearest, most elegant conductors I have worked with
during the span of my 30-year career with the St. Louis Symphony, Metropolitan
Opera Orchestra and Casals Festival Orchestra.  He is one of the best conductors of his
generation.  He also has a rare combination of communication and leadership skills
with which to oversee the future of any fine orchestra.”
--Nancy Uscher, violist

Butterman’s debut brings out best in Philharmonic.  “Michael Butterman has already
shown in many ways why he won the job.  He has been actively engaged in the
community since his appointment, presenting small recitals and appearing at
community events.  Much of the Phil audience, therefore, already knew Butterman as
an incredibly likable, approachable and engaging person...This was quite simply one
of the finest Phil concerts in the last several years...In the prelude to Wagner’s
“Meistersinger,” the orchestra’s brass section began the evening auspiciously with a robust
but not overpowering sound.  It would be the first of many great moments for the brass...
(of Brahms’ Hungarian Dances) Butterman found ways to make them feel fresh and exciting,
with crisp and precise playing from the whole ensemble...(of Prokofiev’s Romeo and Juliet)
Butterman’s choices and ordering reflected the dramatic structure of the ballet and was
highly effective.  The orchestra retained its fine form throughout this expressive and colorful music.”
--Boulder Daily Camera; Kelly Dean Hansen (November 5, 2006)

Phil’s Butterman left his mark on ’06.  “There's no room for debate — Michael
Butterman was clearly No. 1 on the classical-music scene in Boulder in 2006.  And
what makes that amazing is that he has thus far conducted only one concert here as
newly appointed music director of the Boulder Philharmonic.  But Butterman didn't
wait for that November event to make his mark within the community. Following his
appointment last spring he came to Boulder several times — both to introduce himself
as a conductor at a number of free public concerts, but also to meet with leaders of
other organizations to make plans that will revitalize the Phil and insure its fiscal well-
being.  For the November concert, Butterman chose an all-orchestral program to
underscore the quality of the ensemble, which is nearing its 50th anniversary season.
And he left the audience humming with satisfaction and talking about how "fun" the
evening had been.”
--Boulder Daily Camera; Wes Blomster and Kelly Dean Hansen (December 31, 2006)

Shreveport Symphony ends season with a bang-up concert.  “While the music may not
be new to our ears, the passion through which it was presented was always fresh,
lively and, with the help of the congenial Butterman, engaging.  What the season
inspired was a more active form of listening than I’ve witnessed during the past three
seasons.  On and off the podium, Butterman has been advocating for enlightened
listening.  We are getting his message.  Judging simply by a season full of buzzing
lobbies, standing ovations and full houses, this orchestra is very well loved by its
supporters.  And the supporters love Butterman.”
--Shreveport Times; Alexandyr Kent (May 12, 2007)

Symphony offers another stunner.  “Conductor Michael Butterman demonstrated
exquisite control over the orchestra...Throughout a season of strong concerts, the
Shreveport Symphony Orchestra has demonstrated why it remains vital to the artistic
life of the city and region.”
--Shreveport Times; Alexandyr Kent (April 7, 2008)

“Butterman's enthusiasm, daring programming and intriguing themes have energized
the orchestra since his arrival.”
--Boullder Daily Camera; Kelly Dean Hansen (October 5, 2008)

“Music Director Michael Butterman’s approach this year of mixing new and exciting
programming with familiar standards provided another great success with this concert...
Butterman and the orchestral musicians played the Douglas concerto and Barrak’s tone
poem with a surety that made the world premieres seem like works of great familiarity. 
The Dvorak and Ginastera pieces were both exceptionally well-played.”
--Boulder Daily Camera; Kelly Dean Hansen (March 22, 2009)

“This piece (Respighi’s Botticelli triptych) demonstrated Butterman’s ongoing
commitment to giving audiences more than just music.  He works to embed the
programming themes into the patrons’ minds and engage them not only sonically but
also emotionally and intellectually.  His enthusiasm puts audiences at ease and makes
concerts worth more than their ticket prices.”
--Shreveport Times; Alexandyr Kent (May 4, 2008)

 “Michael Butterman has conducted yet another winner in a season full of winners.
His engaging introductions and sweaty brow suggest he’s doing everything he can to
make this music matter to musicians and listeners alike.”
-- Shreveport Times; Alexandyr Kent (April 1, 2007)

Shreveport Symphony Orchestra opens season with sold-out concert.  “It was
reassuring to see that 60 years after its founding, the SSO remains a community
magnet...The bill of Mozart, Liszt, Schubert and Tchaikovsky did not amount to a
pyrotechnical evening, which is where Butterman enters the scene.  He sells the
audience a piece of music by using his conductor’s insight and succinct, witty
style...At the evening’s end the audience congratulated the musicians and Butterman
via sustained applause.  And the Maestro was ready for it.  With graceful bearing and
cogent timing he closed the evening with a quiet 20th century piece, Ravel’s Pavanne.”
--Shreveport Forum; Robert Trudeau (September 16, 2007)

“Butterman’s cleanly expressive conducting style drew little attention to itself while
flinging orchestral colors to all corners of the Great Hall...Butterman was the perfect
intermediary between orchestra and soloist, dealing out brass blasts and piano
arpeggios with split-second timing.  He was rock-sold and incredibly patient.
Butterman’s steadfastness was contagious to the audience...not once did he force a
gesture or milk a moment.”
--Lansing City Pulse; Lawrence Consentino  (October 9, 2005)

“Months of anticipation came to an end with Michael Butterman, Shreveport
Symphony’s new Music Director, answering the call to action with a gracious stage
presence, then leading a spirited and sometimes explosive program...Butterman drew
warmth and richness from the orchestra, especially during the lyrical exchanges
between brass and string sections...an impressive debut by the orchestra’s new Music
Director and a great start to a new season.”
--Shreveport Times; Alexandyr Kent (September 18, 2005)

“Michael’s sensitive musicianship is complemented by a refined, elegant conducting
technique and an uncommon dedication to his craft.  He is an effective and efficient
communicator in rehearsal, as well as an exciting and charismatic performer.  Furthermore,
his musical insight and personal warmth endear him to his orchestral players.”
--Jorma Panula, internationally renowned conducting pedagogue

“Butterman’s ace in the hole for this outing was musical interpretation.  Butterman,
displaying insightful musical knowledge, was able to bring forth those pictures in a
concert that was filled with musical coloration from the opening to the closing
notes...Watching Butterman work the musicians was about as much fun as listening to
this evocative piece.  He helped the orchestra bring great lyrical depth...to Butterman,
bravo.”
--Shreveport Forum; Lane Crockett (May 18, 2005)

“Conductor Michael Butterman gave an energetic account of the score, conducting the
RPO with a hyper-emotional intensity that brought out all the glory and grandeur of
Tchaikovsky”
--Rochester Democrat and Chronicle; John Pitcher (November 30, 2002)

“The evening’s guest conductor had clearly achieved a remarkable rapport with the
symphony’s musicians in his short week working with them.  Some of the reasons
were easy to see.  Butterman’s beat is clear and uncluttered by “conductorly”
posturing.  It was obvious that he knew what he wanted and had the technique to
achieve his goals efficiently.  The orchestra players rewarded his skills with some of
their finest playing.”
--Spokane Spokesman-Review; Travis Rivers (February 15, 2003)

“At the core of the production, bringing plenty of intelligence to the performance was
Music Director and Conductor Michael Butterman.  Butterman, the opera’s staff music
director, propelled the music with a clear sense of dramatic pacing, letting it open up to
give the singers sympathetic support without losing forward momentum.”
--Albuquerque Journal; Joanne Hoover (October 24, 2000)

“Michael Butterman, who led the Rochester Philharmonic, was a marvelous enabler,
serving up one lush romantic phrase after another.”
--Rochester Democrat and Chronicle; John Pitcher (November 29, 2003)

“Emotions ran high in the first of this weekend’s three Masterworks concerts, as the
ensemble offered an evening of high drama and passion in the Romantic
tradition...conductor Michael Butterman and the players threw themselves into this
fairy tale with a great deal of charm (Dvorák Noon Witch)...Butterman and the strings
took Elgar’s swells and dynamic surges to the far boundaries of melodrama, without
becoming overwrought or precious; the results were flawless and emotionally
compelling.”  (Elgar Enigma Variations)
--Jacksonville Times-Union; Alyn Wambeke (March 8, 2003)

“Music Director Michael Butterman injected definitive energy into the orchestra from
its opening notes, conducting with dramatic flair and giving the singers supple
support” (Madama Butterfly).
--Albuquerque Journal; Joanne Hoover (April 2, 2001)

“Butterman led the orchestra in a well-delivered performance that explored new
musical ground...Beethoven’s Eighth Symphony was grand and joyful and was
delivered with finesse and a happy exuberance.”
--Jacksonville Times-Union; Jaimie Wilson (March 12, 2001)

“Michael Butterman oozed excitement for the music he was conducting, the orchestra
played marvelously and the choirs were angelic."
--Quad City Times; Mary Louise Speer (November 19, 2000)

“The Louisiana Philharmonic Orchestra presented bold portrayals of legendary heroes
Friday night.  Michael Butterman, conductor, explained and demonstrated the cast of
characters in the music reminiscent of the Leonard Bernstein young people’s concerts
back in the 1950’s.  Between his commentary and the well-written program notes, the
concert was a literary delight and a musical bon mot.  Butterman was well-suited to
the idea of musical story since much of his conducting has been in opera, and his
articulate descriptions were full of visual detail...Richard Strauss’ tone poem Don
Juan has one of the most difficult openings of any concert fare, but its precise delivery
set the tone for the rest of the program...the orchestra’s playing was extraordinarily
clean—entrances sounded as if they were made by one instrument with many timbres.
And the performance was one of the most musical that we have heard in a long time.
The audience responded with Bravos at the end of the demanding and well-executed
program.”
--Mobile (AL) Harbinger; Patricia Pinson (January 19, 1999)

“Under the baton of guest conductor Michael Butterman, the Santa Fe Symphony and
Chorus found just the right lead...Butterman brought out the best in his forces by
emphasizing tonal lightness and rhythmic clarity in the orchestra...Butterman showed
other strengths as well: a fine sense of Handel’s arching phrases; an assured podium
manner; a clear beat; good cues to the chorus.”
--Santa Fe New Mexican; Craig Smith (November 24, 1998)

“...and what glorious music it is.  It begins with a glowing reading of the overture
under the suave, controlled conducting of Michael Butterman and continues that way
throughout the evening.”
--The Alliance Review; Thomas Harper (June 12, 1997)

“Musical Director Michael Butterman finessed first-rate work from the orchestra.”
--Variety; Daniel Selznick (August 17, 1992)

“The musical direction, by Michael Butterman, is loving—an embrace of Bernstein’s
neglected score.”
-- The Washington Post; Lloyd Rose (August 12, 1992)

“Michael Butterman conducted with vitality and affection.”
--The Cleveland Plain Dealer; Donald Rosenberg (June 15, 1996)