Johann Strauss: Flagermusen (Die Fledermaus), Royal Danish Opera 2018-19

‘Fremragende! Det er, hvad man kan sige om dirigenten, Robert Houssarts tackling af Johan Strauss den Yngres Flagermusen, operetternes operette. Nærmest på Carlos Kleiber-manér førte han Det Kgl. Kapel frem til en yderst succes-fuld praesentation af ouverturen – og på et stade, hvor mange nulevende dirigenter ikke kan være med. Og Houssart fortsatte med at imponere til allersidste takt’ – Svend Klarskov, sklassisk.dk

Kurt Weill: Street Scene, Royal Conservatoire of Scotland, Glasgow 2018

‘….the singing was pretty much spot on, with some excellent solo performances and well balanced ensemble passages….The music from the pit was just as animated. Conducted by Robert Houssart the orchestra sounded superb, its warm timbre wonderfully evoking the sultry glow of a hot New York summer’s evening’ – Miranda Heggie, The Herald

‘A vibrant Street Scene from the Royal Conservatoire of Scotland… Robert Houssart conducting with the orchestra on top form… exuberant fizzing exciting city sounds and emotional swell coming from the players who were clearly enjoying getting to grips with the piece’ – David Smythe, bachtrack.com

Thomas Adès: The Exterminating Angel, Royal Danish Opera 2018

‘Den glimrende dirigent….Robert Houssart dirigerer sangerne, koret og det meget velspillende Kongelige kapel med stor autoritet og en dyb indsigt i værkets mange kroge….’ – Lars Ole Bonde, peripeti.dk

‘Kapellet var on fire med dirigenten Robert Houssart som kaptajn’ – Camilla Marie Dahlgreen, Klassisk

‘If Houssart revealed the combination of raw, elemental power and sensual delicacy in Salome, he did the same for Adès’ comparable score’ – Andrew Mellor, Opera magazine

‘Robert Houssart holder sammen på de 22 solister plus koret og får endda noget enestående frem hos Det Kongelige Kapels musikere – en forståelse og et personligt engagement fra alle’ – Soren Schauser, Berlingske

‘…men al sang fra scenen er alligevel naermest flitterstads i forhold til den helvedesbrønd, som dirigenten Houssart forvandler Det Kongelige Kapel til. Det slår alt, hvad man kan forvente sig af lyd i en veludsyret biograf’ – Peter Johannes Erichsen, Weekendavisen

‘Den nye opera er imponerende i sin mangfoldighed. Der er ikke sparet på raffinementer i musikken….og kapellet spillet imponerende under ledelse af Robert Houssart…Det er da også et flerårigt samarbejde imellem nogle af verdens store operahuse: Metropolitan i New York, Royal Opera i Covent Garden i London og Salzburg festspillene. Den Kongelige Opera er kommet i fint selskab, men heldigvis er der blevet plads til en række af vore egne gode sangere’ – Ulla Strømberg, kulturkupeen.dk

‘ADÈS skriver for stemmer og orkester med en gennemført virtuos frejdighed, hans stil er broget som et patchwork. …En berusende strøm af detaljer, tårnhøje krav til musikerne i det mangfoldigt besatte orkester – som Kapellets dirigent Robert Houssart siger i et interview: ”Tonerne vokser nærmest fra ham som en bakteriekultur i et kemisk laboratorium”. Det er overvældende, især gennem den store 1. akt, hvor det gigantiske vildnis af detaljer i orkestret svarer til udviklingen og adfærden mellem de mange personer på scenen – lige så kaotisk og enerverende og opslugende for vores opmærksomhed. Hvem er de, de mange festligt og snart mere og mere derangerede gæster på scenen? – en hel kanonsalve af glimrende solister….’ – gregersDH.dk

‘Och så slår man sönder vattenledningar som vore det självaste Nibelheim av Richard Wagner. Och framförandet var skavanklöst, höggradigt samspelt och professionellt, ingen nämnd ingen glömd allt i dirigat av Robert Houssart’ – vivaopera.se

‘Much of the dramatic atmosphere comes from Adès’s orchestra….There is some extremely powerful music in The Exterminating Angel and it is unlocked fully by conductor Robert Houssart’ – Andrew Mellor, klassisk.org

‘… le compositeur britannique réalise un impressionnant travail d’orchestration capable autant de sauvagerie que d’intimes et mystérieuses évocations obsédantes, continument lié par l’émergence de mouvements sombres et menaçants. …la musique de Thomas Adès est riche en inventivité, changements permaments de couleurs, rythmes et textures sonores qui saisissent suffisamment l’auditeur pour l’attacher sans distraction possible à l’action scénique. C’est sa grande force, et Robert Houssart lui rend justice tout en concentrant passionnément son soutien vers les solistes livrés du début à la fin au regard des spectateurs’ – fomalhaut

‘…Jeder einzelne Ton ist hier ein Wagnis, und die Souveränität und Energie, mit der Kerstin Avemo diesen akrobatischen Part sang, war schlicht und einfach atemberaubend…Das gilt nicht minder für das, was die Königlich dänische Hofkapelle an diesem Abend unter Robert Houssart leistete. Adès’ Orchesterpart ist unglaublich filigran instrumentiert. Neben einem stark erweiterten Schlagwerk kommen elektronische und elektronisch verstärkte Instrumente sowie außerdem im ersten Akt ein Fernorchester zum Einsatz. Die dynamisch oft scharf kontrastierenden Klangfelder im Orchester waren sauber ausbalanciert. Man bekam runde, nicht selten spätromantisch satte Klänge zu hören. Auch das Zusammenspiel mit der Bühne war im Gleichgewicht’ – Dr. Martin Knust, Operapoint.com

Mozart: Le nozze di Figaro, Royal Danish Opera tour, Aarhus 2017

‘Musikken spilles dels af Aalborg Symfoniorkester under ledelse af Robert Houssart. Symfoniorkestret er hevet op fra orkestergraven og placeret midt på scenen. Hvor må det være belastende for blæsergruppen, at de ikke kan se dirigenten for den sopran, der synger sin arie lige foran dem. Men interaktionen imellem musikere og operasangere er fornøjelig, og det tilfører forestillingen en særlig spænding og livlighed. Og ligesom musikken er velspillet, er også operasangerne velsyngende’ – mortenhede.dk

Le nozze di Figaro, Longborough Festival Opera 2016

‘Indeed, the singing was uniformly excellent, with the vocal highlights coming from Grant Doyle’s Figaro and, most particularly, Anna Harvey’s excellent Cherubino. The orchestra under the baton of Robert Houssart gave a fine account of this joyous score’ – David Lister, The Independent

‘Dutch conductor Robert Houssart – Longborough prides itself on its cosmopolitanism – brought his musical energy and flair to the production aided and abetted by a 34 piece orchestra….This has to be one of the more thought-provoking versions I have seen – Mozart speaking to the world of today’ – Roger Jones, seenandheard.com

‘What you do go to Longborough for is a really interesting, consistent production that makes a coherent case for the work itself both musically and dramatically. This Figaro production does that. This is a strong, cogent production – and, of course, it works not only because of the fine, controlled conducting of Robert Houssart, and the production concept by director Thomas Guthrie, but also because of a superb and delightful cast of singers who also know how to act’ – Mel Cooper, playstosee.com

‘Robert Houssart kept lively tempi and drew warm and accurate playing from the LFO orchestra… He was obviously attentive to the needs of the singers, particularly in ensemble scenes ‘ – Dominic Lowe, bachtrack.com

‘…Houssart conducts an account of the music which rarely wants to hurry along….in longer scenes, such as the Finales of Acts Two and Four he certainly sustained momentum admirably over the shifting sequences of Mozart’s symphonic score. With a relatively small ensemble, too, the inner detail of the writing was often revealed’ – Curtis Rogers, classical source.com

R. Strauss: Salome, Royal Danish Opera June 2016

‘Progression inéluctable vers un drame cinglant, la mise en scène du génialissime Stefan Herheim est dominée par les femmes: Salome/Marilyn Monroe et ses six sosies réinventent la Danse des sept voiles qui mène à la décapitation de Saint Jean-Baptiste. La tête géante du prophète permet à Salomé de déclamer son monologue final debout dans la bouche bien-aimée…
Magnifique scénographie surplombée par la lune, densité orchestrale hors-pair, excellents chanteurs, un choc dont on se remet difficilement!’ – Lama Tyan, operatrotter.com

Adès: Powder Her Face, Royal Danish Opera 2016

‘I venstre side af scenen, lige bag et badekar, sidder det 15 mand store ensemble. De er udrustet med traditionelle instrumenter såvel som legetøjsfløjter og fiskehjul, og dirigenten Robert Houssart leder dem sikkert gennem de halsbrækkende rytmer og pludselige kovendinger’ – Sune Anderberg, Klassisk

‘Dirigenten Robert Houssart håller föreställningen i ett behagligt tempo och får fint fram de intressanta klangerna i Adés komplicerade men ändå tonala musik’ – Lars-Eric Larsson, Skanska Dagbladet

‘Musikken er fyldt af dramatisk udspekulerede detaljer… Det er imponerende veldrejet moderne musik, formet og artikuleret af den dirigent Robert Houssart og Det Kgl. Kapels musikere’ – gregersDH.dk

Puccini: Madama Butterfly‚ Opera North at Lowry 2011

‘…this is a mark of the whole show. We are on a roller-coaster of feelings that never let up and the orchestra under the conductor Robert Houssart ensures that every note and pacing keeps us enthralled’ – Whats On Stage.com

‘The Orchestra of Opera North, under the baton of Robert Houssart, delivered the score in all its gorgeous splendour’ – Robert Beale, Manchester Theatre Awards

Ligeti: Le Grand Macabre, Adelaide Festival 2010

‘…helped by conductor Robert Houssart and Adelaide Symphony Orchestra‚ who give the score magnificent panoramic breadth‚ the results are effective and beautiful’ – The Australian

‘With the musical score delivered by the Adelaide Symphony Orchestra‚ led by the redoubtable Robert Houssart’ – Independent Weekly

‘As well as the playful (the car horn preludes)‚ the various allusions (Beethoven‚ Bizet‚ Offenbach‚ the Beatles)‚ the jazzy and the atonal‚ there are moments of simple loveliness‚ as in the celebrated Passacaglia at the end. Conductor Robert Houssart clearly knows the work inside out‚ and maneuvered the Adelaide Symphony Orchestra nimbly through its thickets…there is no doubt that this was a work of stunning theatricality and a huge success for the Adelaide Festival’ – Opera-Britannia.com

‘And what music it is: Ligeti refers to everything from Rossini patter songs and Monteverdi toccatas‚ to more direct references to Beethoven and‚ indeed‚ in the opera’s cheerfully moralistic conclusion‚ to the spirits of Mozart and Verdi – but all reflected via the distorting mirror of Ligeti’s compositional style and orchestration. The Adelaide Symphony‚ under Robert Houssart‚ played with brilliance and accuracy of attack‚ practically relishing the challenges: one could sense the enjoyment‚ especially from the kitchen of percussion..Saturday’s performance was a festival triumph’ – The Age.com.au

‘….Robert Houssart’s conducting of the Adelaide Symphony Orchestra is excellent, ably supporting the superb cast of international and Australian soloists’ – Chris Read, realtimearts.net

‘Conductor, Robert Houssart, has the superb Adelaide Symphony Orchestra at his command, and they get a real workout with this intricate and complex score that calls for huge forces…There is a great use of brass and six percussionists are fully employed playing a list of instruments as long as several arms, including such unusual items as electric doorbells, sirens, bird whistles and duck callers. To go into an analysis of the music, its irony, ambiguity, use of parody of earlier composers and styles and an explanation of anti-anti-opera, Ligeti’s response to the anti-opera of Mauricio’s Staatstheater, would run into volumes’ – Barry Lenny, glamadelaide.com.au