Press

Patel is a fine musician, and he possesses skills that are rare: He can shape phrases with an orchestral legato that produces a near-seamless tonal surface, and he is able to transform rhythms and change tempos without that micro-second of chaos that often afflicts even the best ensembles. - Marcus Overton, San Diego Union-Tribune

Over the years, opportunities to hear Jean Sibelius’ magnificent Fifth Symphony performed by the San Diego Symphony have been exceedingly rare... Associate Conductor Sameer Patel made up for some of this oversight, leading a majestic, sonically luxurious but aptly propulsive account of the Sibelius Fifth. Carefully sustaining the suspense of the first movement’s drawn-out anticipatory themes over a relentless timpani roll allowed a particularly effective rousing finale for that movement. In the less agitated middle movement, Patel asked for more ingratiating colors, especially from the strings, and the musicians responded by floating elegant, nuanced themes. -Ken Herman, San Diego Story

Over 10 guest conductors will grace the symphony’s stage this season as we search for a new music director. That didn’t keep last night’s audience from showing their appreciation for Sameer Patel, the symphony’s associate conductor. Multiple groups around me yelled out his name and cheered when he took the stage—a welcoming I don’t often associate with symphony concertgoers. This guy has an incredibly warm and personable onstage personality, and I could have listened to him chat about each piece indefinitely. -The San Diego Album

The music was stellar. It had a crisp ambiance that suggested a conductor in sync with his players...And Patel’s connection with that music – nearly stormy when need be but dispassionate when appropriate – was clear. Part of the magic of any kind of music is chemistry, and he delivered it in often subtle but sometimes striking interludes...An impression sticks with me more than any from the concert: Patel’s arms wide in the most effusive moments of the Sibelius, marking the beat in great, sweeping gestures, and you could almost feel his muscles quiver as he coaxed the most from his players. I feel something deep within, a soaring, emotional pull. Then the final pluck of the strings in the movement, and those arms slowly lowering to a hushed conclusion: dramatic without being heavy-handed. The applause in the Saroyan is long and effusive. One person tells me at the reception: “That’s the first time I’ve ever seen the string section really smile.” -Donald Munro/The Fresno Bee

From the fiery final movement of Dvorak’s Ninth (“New World”) Symphony to Gustav Holst’s thundering “Mars, the Bringer of War” from The Planets, Patel unleashed the orchestra’s brilliance and propulsive drive with complete assurance. He has been with the orchestra since September, and from all appearances has won their eager confidence. -Ken Herman/SanDiegoStory

Patel’s passionate, clearly defined conducting style brought out the best in the orchestra. His arm gestures tend to be bold and decisive, although he remains fixed in the center of the podium—he does not dance his way through rousing sections, as some conductors do. No doubt his solid conducting chops proved a significant factor when he was elevated to the post of Associate Conductor in July. -Ken Herman/SanDiegoStory

Patel gave the work a vibrant dynamic breath that ranged from the startlingly quiet and emotional, to the bombastic and overwhelmingly forceful. While the performance was filled with details - both subtle and bold -that came as a surprise in an already surprising work, it was Patel's broad narrative continuity throughout that made the performance so compelling...Given Maestro Patel's personal warmth and apparent genuineness, and the intelligent interpretations of the weekend's performance, I wouldn't be surprised if we hear more from him in the future. -Alan Sherrod/ArtsKnoxville

Patel, who had clearly been in charge throughout the first half, emerged as a very effective sculptor of phrase and dynamic in this final number. The playing was crisp, clear, and well balanced, with winds getting the space for their solos and strings showing how far they could push dynamic contrasts. Patel seemed to be all about musical contour, an animated figure on the podium whose large gestures clearly were heeded by the players. At the conclusion, Patel also was called back repeatedly and, in a lovely touch of humility not often seen by conductors, indicated that the bountiful applause belonged to the instrumentalists. Wow!– a conductor who treats the players like the partners they really are. In reply, the orchestra gave their guest conductor its own brand of applause. You don't see that so often in concerts. It would be a good thing to see and hear Patel at work again with the TSO. - Sally Vallongo/ToledOvations

The audience didn't bother with academic restraint by waiting to applaud at the end of the piece: [Patel] was thanked...with frenetic applause for his outstanding achievement. It was clear that [he] recognized the spirit of Mendelssohn's music and in a clear way communicated it to the orchestra. - Leipziger Volkszeitung / September 2011 concert with Leipzig Symphony