Ari Pelto is represented by Rayfield Allied worldwide.

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Ari Pelto


  • There is no way to overstate it: Pelto is a wizard in the pit...
    Daily Camera
  • The Virginia Symphony Orchestra, whose members, under the insightful direction of Maestro Ari Pelto, added just the right slippery, jazzy underbelly to Mr. Previn’s music
    The Washington Times
  • Mr. Pelto is a fine Mozartean.
    Seen and Heard International
  • Don Giovanni…shaped and paced with consummate skill by conductor Ari Pelto
    Washington Post
  • Pelto’s unfailing ability to create a cohesive blend between singers and orchestra...
    Opera News
  • Ari Pelto, music director of Opera Colorado, is widely known for performances that have been called poetic, earthy, vigorous and highly individual. He is in demand in opera houses and with symphony orchestras throughout the United States.

    In 2015, Pelto was named Opera Colorado’s first ever Music Director, where he has conducted acclaimed performances of Don Giovanni, Madama Butterfly, Aida and the recent world premiere of Lori Laitman’s long-awaited work, The Scarlet Letter, a recording of which will be released in fall 2017 on the Naxos label. In upcoming seasons at Opera Colorado Pelto will lead productions of La Fanciulla del West, Lucia di Lammermoor, La Boheme, Falstaff, and the world premiere of Gerald Cohen’s new opera, Steal a Pencil for Me, based on a true love story set in a concentration camp during WWII.

    Highlights of his 2015/16 season included Aida at Utah Symphony and Opera, for which the Salt Lake Tribune raved “Whether in the grandeur of the triumphal scene or the exquisite beauty of the Nile scene, one couldn’t have asked for a more inspiring performance of Verdi’s score,” a double bill of La Voix Humaine starring Patricia Racette and Gianni Schicchi at Chicago Opera Theater, and return appearances at Atlanta Ballet and at Opera Memphis. He conducted a variety of symphonic programs with orchestras in the US, including Omaha Symphony and the NYU Symphony.

    A masterful collaborator with dancers, Maestro Pelto has enjoyed a longstanding relationship with the Atlanta Ballet. He recently conducted Jean-Christophe Maillot’s groundbreaking production of Romeo et Juliette with the company and in 2012, he partnered with Twyla Tharp, conducting the world premiere of her first story ballet The Princess and the Goblin. Previously, he conducted the Atlanta Ballet’s production of Prokofiev’s Cinderella, and the Atlanta Journal-Constitution wrote “Under Ari Pelto’s baton, the orchestra has never sounded better, nor the chemistry between the pit and the stage been quite so palpable.”

    • Opera Colorado, La fanciulla del West
      November 2016

      Several stories can be told about the artistic and organizational resurgence of Opera Colorado, but arguably no development was more consequential than the naming of Ari Pelto as music director. There is no way to overstate it: Pelto is a wizard in the pit... Throughout the opera's three acts, Pelto's focus was intense. Puccini's penchant for doubling rhythmically fluid vocal lines, often a nightmare for conductors, was handled with natural ease. Pelto's simultaneous communication with players and singers is a marvel to behold. That is not to say that he ever draws attention to himself—far from it, and that is part of his artistry.
      Daily Camera, Kelly Dean Hansen, 7 November 2016
      Ari Pelto led a first-rate pit orchestra who were steady and sympathetic in accompaniment.
      Opera, Marc Shulgold, March 2017
    • The Scarlet Letter, Opera Colorado
      May 2016

      Conductor Ari Pelto honors Laitman's democratic approach to composing and reaches deep into every section to pull the most out of the orchestra. He knows when to put on the brakes and when to pump up the volume.
      Denver Post, Ray Mark Rinaldi, 10 May
      Conductor Ari Pelto led his forces with his usual sensitivity to the singers on the stage, and the sounds from the pit were a gorgeous background to the action.
      Daily Camera, Kelly Dean Hansen, 12 May
      …the orchestra, which was ably led by Ari Pelto.
      Opera Now UK, Heidi Waleson, June 2016
      Laitman's occasionally shimmering score, capably delivered by the well-rehearsed orchestra led by Opera Colorado music director Ari Pelto, brought a much-needed lightness to the proceedings.
      Opera News, Marc Shulgold, 7 June 2016
      Laitman’s score remained unblushingly tonal and occasionally tuneful, enhanced by a colourful orchestral accompaniment (nimbly led by Opera Colorado’s music director Ari Pelto).
      Opera Magazine, Marc Shugold, October 2016
    • Aida, Utah Opera & Symphony
      March 2016

      Playing an equally important role was the Utah Symphony, conducted by Ari Pelto. Whether in the grandeur of the triumphal scene or the exquisite beauty of the Nile scene, one couldn't have asked for a more inspiring performance of Verdi's score.
      Catherine Reese Newton, Salt Lake Tribune, 13 March
    • La Voix Humaine / Gianni Schicchi, Chicago Opera Theatre
      February 2016

      Conductor Ari Pelto deftly captured the disparate emotional worlds of the two pieces. The playing was excellent throughout, with some particularly fine work from the winds in the Poulenc.
      Mark Thomas Ketterson, Opera News, 6 February 2016
      Conductor Ari Pelto deftly restrains the orchestra, which never overpowers Patricia Racette’s exquisite soprano.
      Barnaby Hughes, Stage & Cinema, 7 February 2016
    • Aida, Opera Colorado
      November 2015

      One of the most positive recent developments for Opera Colorado was this year's naming of Ari Pelto as its first music director. The conductor — who made such an indelible mark with his acclaimed interpretation of Mozart's "Don Giovanni" in 2013, then followed up with an incredibly nuanced reading of Puccini's "Madama Butterfly" last year — is an obvious and natural fit for the company's aesthetic. In the pit for "Aida," Pelto showed a firm command of the orchestra, a distinct communication with the singers and a solid knowledge of Verdi's four-act 1871 score.
      Daily Camera, Kelly Dean Hansen, 9 November 2015
    • The Rake’s Progress, Portland Opera
      June 2015

      Ari Pelto guided and cued the vocal/instrumental collaboration into a work of art. Everyone on stage was confident in note, pitch and rhythm. Maestro Pelto made it all came together.
      Bruce Browne, Oregon Artswatch
      Ari Pelto led the orchestra nimbly through a deceptively challenging score.
      James McQuillen, The Oregonian
    • Salome, Virginia Opera
      January 2015

      The Virginia Opera Orchestra, provided by the Virginia Symphony, sounded wonderful in its confident realization of Strauss' chromatic, dissonant, instantaneously changing score. Under the calm baton of conductor Ari Pelto, dynamics were extreme; solos were superb. The wall of sound from the pit, with flying motives and emotions, was another palpable piece of this terrible tale.
      B.J. Atkinson, Hampton Roads
    • Opera Memphis, Don Giovanni
      October 2014

      ...Musicians of the Memphis Symphony Orchestra performed beautifully under the assured baton of Ari Pelto.
      Jon W. Sparks, Commercial Appeal
    • Don Giovanni, Opera Colorado
      April 2013

      Conducted with unrelenting energy by Ari Pelto.
      Ray Rinaldi, The Denver Post
    • A Streetcar Named Desire, Virginia Opera
      March 2013

      Making things even better, the singers were accompanied by members of the Virginia Symphony Orchestra, whose members, under the insightful direction of Maestro Ari Pelto, added just the right slippery, jazzy underbelly to Mr. Previn’s music ... infusing it with the kind of decadent but pulsating life that we’re now convinced the composer had actually been thinking of all along.
      Terry Ponick, The Washington Times
      The orchestra was excellent. Previn’s score bangs around in a whole buffet of styles, and conductor Ari Pelto had his forces reveling as playfully in the bluesy drama of New Orleans funk as in the psychological tension-building of movie-score sophistication.
      Joan Reinthaler, Washington Post
    • Hansel and Gretel, Utah Opera
      January 2011

      The orchestra plays an important role in this opera, and Pelto led the Utah Symphony in a nicely balanced performance full of beautiful musical colors. The woodwinds accompanying Gretel’s “Sandman” song were particularly magical.
      Catherine Reece Newton, Salt Lake Tribune
    • Hansel and Gretel, Portland Opera
      November 2010

      Pelto led the orchestra in a nuanced performance of Humperdinck’s Wagner-lite score, which lays a trail of tasty melodic crumbs through a forest of dark chromaticism and dense orchestration. Like the rest of the opera, the music drew quirky sweetness from shadowy depths, countering fear and hunger with friendly and approachable tunes.
      James McQuillan, The Oregonian
    • Cinderella, Atlanta Ballet
      February 2010

      Under Ari Pelto’s baton, the orchestra has never sounded better, nor the chemistry between pit and stage been quite so palpable.
      Susan Elliot, Atlanta Journal Constitution
    • Carmen, Utah Opera
      January 2010

      Pelto made it clear from the first brisk bars of the famed overture this was going to be an exciting ride. The orchestra and singers rolled out tune after glorious tune, yet the action never felt rushed.
      Salt Lake Tribune
    • Cosi Fan Tutte, San Francisco Opera Centre
      July 2009

      Much responsibility for the afternoon's success lay with conductor Ari Pelto. He was ever alive to the moment. His orchestra consistently highlighted the contrasting instrumental lines that convey how deeply Mozart understood what the characters feel but don‘t sing.
      Jason Serinus, San Francisco Classical Voice
    • La Boheme, Boston Lyric Opera
      November 2007

      A company debut for the conductor Ari Pelto, who at Sunday afternoon’s performance kept the orchestra and singers sensitively on track.
      Boston Globe
    • Carmen, New York City Opera
      September 2006

      ..City Opera has a good (conductor) in Ari Pelto, a Yankee from Connecticut. The overture was reassuring: crisp, vigorous, un-perfunctory. After the final note, someone in the audience whooped, and the audience in general cheered. Quite right. Mr. Pelto knows “Carmen” musically, and that made all the difference.
      Jay Nordlinger, The New York Sun
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