 A conductor of uncommon versatility and a wide range of experience, David Briskin has led performances of symphonic and choral music, opera, ballet, and modern dance, to equal acclaim. His conducting credits include leading the Detroit, Indianapolis, Cincinnati Pops, Singapore, Calgary and Edmonton Symphony Orchestras; the Orchestra of St. Luke's, the Hong Kong Philharmonic, and the Juilliard Orchestra in a variety of programs from Pops to Classical.
He recently led the National Symphony Orchestra of Costa Rica in the Latin American premiere of John Corigliano's monumental First Symphony and makes his debut conducting three programs with the Pittsburgh Symphony Orchestra later this season.
Equally at home in the opera house, Mr. Briskin's opera schedule has taken him throughout the U.S., Canada and Europe, including performances of La Bohème in Italy; Calgary Opera (Le Nozze di Figaro), Manitoba Opera (Carmen), Opera Carolina (Candide, Falstaff, and Don Giovanni), Opera Columbus (Le Nozze di Figaro), New England Conservatory (Albert Herring), Sarasota Opera (Il Barbiere di Siviglia), and Lake George Opera (Die Entführung aus dem Seraglio).
He has also collaborated with the Orchestra of St. Luke's, creating, casting and conducting operas for their highly acclaimed Arts in Education series in New York City, and has been on the faculty of Joan Dornemann's International Vocal Arts Institute in Tel Aviv since 1999.
A frequent conductor for dance, Mr. Briskin is currently in his third season as Music Director and Principal Conductor of Pittsburgh Ballet Theater. As former principal guest conductor for American Ballet Theater, Mr. Briskin led performances at the Metropolitan Opera House and New York's City Center as well is in major opera houses throughout the US, Europe, South American and Asia.
He made his first appearance earlier this season with New York City Ballet and has appeared with San Francisco Ballet, Houston Ballet, the National Ballet of Canada, and Les Grands Ballets Canadiens, as well as the companies of Martha Graham and Paul Taylor among others. He has been conductor for the Dance Division of The Juilliard School since 1993.
For six years Mr. Briskin served as music director of the NY/NJ based Masterwork Chorus and Orchestra. The hallmark of his tenure with Masterwork was his critically acclaimed application of the language of the Baroque to modern instruments and some forty performances of Handel's Messiah at Carnegie Hall and throughout the tri-state
Over the years Mr. Briskin has been extremely active in arts education. For three seasons he was Artistic Coordinator and Host of the Chamber Music Society of Lincoln Center's Education Concerts. He has lectured at the Caramoor Summer Music Festival, the National Society of Arts and Letters, and the Conductor's Guild, and has participated on panels for the American Symphony Orchestra League and Chamber Music America.
He has served on the faculties of Queens College, CUNY, the 92nd Street Y, and the Mannes College of Music in New York. Mr. Briskin had a ten-year association with Lincoln Center Institute where he developed arts education programming and lead workshops for public and private school administrators, teachers, teaching artists and elementary, middle and high school students. He was also instrumental in creating programming and content for the Institute's distance learning program--one of the first such programs in the United States.
David Briskin attended the Indiana University School of Music where he studied voice, piano and choral conducting. He holds a Bachelor of Music degree in orchestral conducting from the Cincinnati College-Conservatory of Music and a Master of Arts degree from Queens College, City University of New York. He and his wife reside in New York City.
Repertoire or Discography Operatic Repertoire
| COMPOSER | WORK | | Bernstein | Candide | | | West Side Story | | | On The Town | | Bizet | Carmen | | Cimarosa | Il Matrimonio Segreto | | Donizetti | Don Pasquale** | | Handel | Acis and Galatea | | Haydn | Philemon and Baucis | | Herbert | The Red Mill | | Hoiby | Summer and Smoke** | | Humperdinck | Hansel and Gretel | | Mozart | The Abduction from the Seraglio | | | Cosi fan tutte | | | Don Giovanni | | | Le Nozze di Figaro | | | Die Zauberflöte | | Kalman | Countess Maritza | | Romberg | The Desert Song | | Puccini | La Boheme** | | Rossini | Il Barbiere di Siviglia | | Strauss, J. | Die Fledermaus | | Sullivan | The Gondoliers | | | H.M.S. Pinafore | | | The Pirates of Penzance | | | Princess Ida | | | Iolanthe | | Verdi | Falstaff | | | Otello** | | | La Traviata | | Weill | The Three Penny Opera | | | | | Musical Theater Repertoire | | | A Funny Think Happened on the Way to the Forum | | | Annie | | | Annie Get your Gun | | | Babes in Arms | | | Brigadoon | | | Carousel | | | The Confidence Man | | | Critic | | | Damn Yankees | | | Gigi | | | Grease | | | Guys and Dolls | | | Hello Dolly! | | | Kismet | | | Kiss Me Kate | | | Little Mary Sunshine | | | My Fair Lady | | | Once Upon A Mattress | | | On The Town | | | Pippin | | | South Pacific | | West Side Story
Selected Orchestral Repertoire
| Adam | Gisele** | | Bach, J.C. | Sinfonia Concertante in E-flat Major for 2 Violins | | Bach, J.S. | Brandenberg concerti nos. 1, 3, 4 | | | Suite No. 2 in B minor | | | Clavier Concerto in D minor | | | Violin Concerto in E Major | | | Concerto for Two Violins in D minor | | | Cantat No. 51 Jauczet Gott in allen Landen | | | Brandenberg concerti nos. 2 and 5** | | Barber | Knoxville: Summer of 1915 | | | Adagio for Strings | | | Overture to The School for Scandal** | | Bartok | Romanian Folk Dances | | | Concerto for Orchestra* | | Beethoven | Symphonies nos. 1, 3, 5, 8, 9 | | | Piano concerti nos. 1 in C Major, 3 in C minor | | | Violin Concerto | | | Overture to Edmont | | | Overture to Fidelio | | | Romance No. 2 in F Major, Op.50 | | | Symphonies Nos. 4 and 7* | | | Symphonies Nos. 2, 4, 6, 9(Mahler revision)** | | | Piano Concerto No. 4 in G Major** | | Berlioz | Roman Carnival Overture | | | Symphonie Fantastique | | Bernstein | Overture to Candide | | | Chichester Psalms | | | Overture to Fancy Free** | | Bizet | Symphony in C | | | Petite Suite from Jeux d'enfants, Op.22 | | | Carmen Suites nos. 1 and 2 | | Brahms | Symphony No.2 | | | Serenade No. 1 in D Major | | | Symphonies Nos. 3 and 4* | | | Academic Festival Overture | | | A German Requirem | | | Symphonies Nos. 1, 3, 4** | | | Haydn Variations** | | Britten | Four Sea Interludes from Peter Grimes | | | Simple Symphony, Op.4** | | Bruch | Violin Concerto** | | Bruckner | Symphony No.4** | | Chausson | Poème | | Chopin | Piano Concerto No. 2 in F minor |
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| Management |
MILLER DIVISION Pinnacle Arts Management 889 Ninth Ave., Suite 1 New York, NY 10019 USA Email
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Reviews
Selected Reviews
Messiah: "this is a "Messiah" to remember..."
"The chorus was a joy all afternoon. Called upon often to make powerful statements, it never lost its pure tone, and Briskin seemed able to delineate each section so beautifully, every contrapuntal note was clear."
"That he also achieve perfect balances between chorus and orchestra in his first visit to this mecca of clean sound was very impressive."
"Everything was aimed at revealing the dramatic power of the oratorio and taken as a whole, it did so in a deeply moving way.
For me, "Messiah" is one of the most magnificent statements ever made. This performance will stay in my memory as one of the most important I've heard." Albert H. Cohen Asbury Park Press, December 14, 1993
"David Briskin, the Masterwork's music director, conducts a flowing chorus, generally excellent soloists, and a fine orchestra.
Of these three elements, the orchestra often makes the strongest impression. This is a pleasant surprise: In other "Messiah" performances, the singing often dilutes the impact of Handel's robust orchestrations. Under Briskin's baton, the violins, in particular, attack their parts with vigor. They reveal Handel's boundless invention as a composer of instrumental music, and their bright sound often suggests animated dancing."
Ken Keuffel, Jr. The Star-Ledger, December 16, 1996 |
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