Schumann Scenes from Faust, Suisse Romande, Geneva (2018) 

“From the very first measures, conductor Ira Levin offered an interpretation full of energy and passion, marked with a great sense of theater. The orchestra of the Suisse Romande responded perfectly to his intentions, with the silky and luminous sounds of it’s greatest nights.” (Claudio Poloni in Concerto Net, March 1, 2018)

“Thank God a replacement was found in the shortest possible time to replace Peter Schneider. Ira Levin, who has lived for many years In Germany and has a very large opera and concert repertory, is already known to our readers as an excellent conductor from previous reviews and interviews. Much was promised and that promise was fulfilled. He began the overture with a sweep that tore one from their seat. With his circular movements he repeatedly achieved moments of the greatest emotion. Schumann obviously intended for the orchestra to make the greatness and significance of his earthshaking subject palpable and the Suisse Romande orchestra has the ability to realize that. Great music drama was in store. But it was never too loud or glaring in sound, the singers were always easily audible. With great sovereignty and sensitivity this substitute conductor was able to achieve a sense of the whole out of the many disparate elements.” (Sieglinde Pfabigan in Der Neue Merker, February 28, 2018)

“To give life to such a composite work, the right conductor is needed, and in this respect the directors of the Grand Theater had a happy hand by choosing Ira Levin who, from the first bars of the somewhat thick orchestration of the Overture showed his goal of extracting extreme passionate lyricism. He also aroused the dark and terrifying moments of the Dies Irae as well as the iridescent and ethereal tones of the final scene. In this, he was assisted by the Orchester de la Suisse Romande which responded more and more to the constant exhortations of this energetic conductor. The entire presentation of this work was remarkable.” (Paul-Andre Demierre in Crescendo, March 1, 2018)

“For a work with such an overabundance of meaning and sound, the conductor Ira Levin deployed a constant energy and sweep that animated the impressive ranks of the Orchestra of the Suisse Romande and the Chorus of the Grand Théâtre de Genève. The musicians and singers were all excellent, each sound clearly audible, every tone perceptible.” (Fabrice Malkani in ForumOpera.com March 3, 2018)

Respighi La campana sommersa, New York City Opera (2017) 

“The conductor, Ira Levin, drew out the lush orchestral colors and vivid evocations — of prancing elves and such — that course through the work.” (Anthony Tommasini in The New York Times, April 2, 2017)

“The performance, led confidently by Ira Levin, had an unexpected intensity and commitment.” (Russell Platt inThe New Yorker, April 3, 2017)

“Much of the credit for the powerful impact of Friday night’s performance was due to Ira Levin. who conducted with lushness and maximum impact. Levin led the 70-player ensemble with technical assurance and astute attention to the composer’s contrasts.The musicians brought red-blooded sonority to the fore in the ecstatic Technicolor climaxes.” (Bruce Hodges in New York Classical Review, April 1, 2017

“The orchestra played this ornate score with easy virtuosity under the baton of conductor Ira Levin, managing to create a warm, enveloping sound.” (James Jorden in The Observer, April 1, 2017)

Marschner Der Vampyr, Grand Théâtre de Genève (2016) 

“The American conductor, Ira Levin, impressed with a dramatic tension from the orchestra pit, with all of the balances well judged.”  (Julian Sykes in Le Temps, 20.11.2016)

“The production of Der Vampyr by Marschner is a well-deserved success thanks to the care taken with the musical direction under the careful and musical baton of Ira Levin, with the Orchester de la Suisse Romande in excellent shape.” (Jacques Schmitt in ResMusica, 23.11.2016)

“In Geneva the romantic sonorous world of Heinrich Marschner emerged with the Suisse Romande sounding extraordinarily good under the direction of Ira Levin.” (Wilhelm Sinkovicz in Die Presse, 22.11.2016)

“At the musical level, the great merit of the American conductor Ira Levin, in front of a superlative Orchester de la Suisse Romande was to maintain the dramatic tension of the work, with commitment and communicative fervor.”
(Emmanuel Andrieu in Opera Online, November 27, 2016)

New Westphalian Philharmonic (2016) 

“With the orchestra completely under his command, Ira Levin led Beethoven’s Coriolan overture with an air of authority. In Mozart’s 17th concerto, he showed an ease of execution, tasting every phrase and ornament to the fullest with an opulence of tone. His direction from the piano with his left hand and eye contact with the orchestra was effective and absolutely right on. He is neither a piano playing conductor nor a conducting pianist, he is both united in one person, which was also shown by his bewitching performance of Chopin’s “Barcarolle” as an encore.  Haydn’s symphony Nr. 102, played with luminous power, was a grandiose end to the program. Levin conducted the entire program by memory and according the orchestra’s spokesman, rehearsed as well without using the scores at all. Blessed strokes of genius.” (Barbara Seppi in Westdeutsche Allgemein Zeitung February 29, 2016)

“Two standing ovations are rarely experienced. What Ira Levin offered had to be seen as well as heard. After a powerful “Coriolan” overture he was both conductor and soloist in Mozart’s piano concerto K. 453. Highly cultivated, his playing fascinated with a natural mastery which was complimented by the tonal luster of the orchestra and a profound interplay ensued. His own cadenzas worked perfectly and he carried the orchestra with dynamic subtlety and a large dose of forward impulse. He received a standing ovation for his virtuosity in the first of two encores, Liszt’s “Wilde Jagd”. Haydn’s symphony Nr. 102 was played so temperamentally and electrifyingly under the sovereign conducting of Levin that the finale had to be repeated.” (Rainer Ehmanns in Westdeutsche Allgemein Zeitung February 26, 2016)

Verdi Don Carlos, Teatro Colón (2015) 

“This was just about the highlight of the entire season, above all the performance of the orchestra, conducted with true authority by Ira Levin. His version found the exact expressive tone for every moment, whether refined or austere and harsh. His strong rhythmic sense always placed the orchestra where it should be, as a support to the singers and stage.” (Jorge Araoz Badi in La Nacion September 22, 2016

Massenet Werther, Teatro Colón (2015)

“The hero of the evening was the conductor Ira Levin. The interest maintained by the fascinating melodicism of Massenet was scrupulously sustained in the orchestra under the hands of the conductor. Ira Levin achieved a special transparency and above all  contributed to create the indispensable sensual climate while avoiding an overly sentimental approach as happens in so many versions.” (Jorge Araoz Badi in La Nacion April 16, 2015)

Berlin Symphony in Berlin Philharmonic Hall (November 10, 2013)

“Ira Levin is an extremely versatile and powerful musician. He is equally a brilliant piano virtuoso, excellent conductor and masterful arranger. His orchestration of Busoni’s Fantasia Contrappuntistica  impressed in it’s immense mastery of the sonic apparatus, from the most refined chamber music-like textures to the most overwhelming climaxes, and this was achieved with great conviction and flawless technique, actually rather unbelievable, considering the short rehearsal time. Then followed Mozart’s 14th piano concerto, played freshly by Levin with stunning subtlety and clear structural awareness. What kind of sound does this man have, with a richness of color in which he weaved a magic spell without without ever sounding “romantic” or arbitrary! And he knows how to lead and communicate very well from the piano. The audience celebrated him and he offered two encores that were not less impressive. After the break, Schumann’s 4th Symphony  was compelling in it’s sensible phrasing, refined sonorities and natural sounding tempi. Those who were present will certainly want to hear this musician, who lives in Berlin, more often.” (Christoph Schlüren in The Listener, November 18, 2013)

Strauss Die Frau ohne Schatten, Teatro Colón (2013)

“Ira Levin, increasingly popular and in demand here from season to season, prepared the Estable Orchesta del Teatro Colón excellently for the difficult musical challenges of this work. On the last night there were standing ovations for him and the musicians before the third act. Levin, who already jumped in successfully at the last minute with this work at the Dresden Semper Opera in 2002, knows it, and Strauss and Wagner in general, very well and once again impressed with his soulful interpretation of the complex score. The purely symphonic and many dramatic moments were fully exploited,  the orchestra lightly controlled by a leash. It sounded at times voluptuous, just as you imagine for this great masterpiece. However, in the more chamber music-like passages, Levin’s music making also showed great refinement, bringing out the many and often subtle nuances, and he displayed great consideration for the singers. (Klaus Billand in Der neue Merker, June, 2013)

“Ira Levin does a brilliant job on the podium and the orchestra under his guidance played with subtly differentiated dynamics, solid in every section, and with the fluidity that the Straussian style demands. This 2013 version might be remembered here in a few years’ time as one of the great opera productions of the century. Impeccable.” (Margarita Pollini in Ambito Financiero June 13, 2013)

Enescu Oedipe, Teatro Colón (2012)

“It was scenically and musically a magisterial realization, an impeccable local premiere. Ira Levin was completely at home in Enescu’s dark impressionism and obtained a very high level with the orchestra of the Colón” (Federico Monjeau in Clarin May 30, 2012)

“A spectacular production from Fura del Baus. The musical aspect was no less successful. With a sharp focus on details, Ira Levin achieved a consistent and inspired realization of the score with the Estable orchestra.” (Pablo Gianera in La Nacion May 31, 2012)

Colina Three Cabinets of Wonder CD with the London Symphony Orchestra (2011)

“This CD will, in every parameter under consideration, receive an unqualified rave from me. I was, in fact, left emotionally overwhelmed. Conductor Ira Levin does a masterful job and every detail of the orchestration is clearly audible in this superb recording. This CD is not only a must, but rises to the “desert island” level. Purchase it now!” (David DeBoor Canfield in Fanfare 2011)

First stereo recording of Bruckner’s Sixth Symphony in the 1899 edition (2010)

“The interpretation of Levin and the Symphony Orchestra of Norrlands Opera is excellent. To begin, it is meticulous in regards to the numerous indications in the score. There is not one questionable decision about the tempos, which Levin manages with intelligence, or the phrasing. The transparency of texture and perfectly calibrated dynamics are impacted from the first notes, everything is heard, each note as written. And this is not only attributable to the edition, but also the preparatory work as well as the minute analysis of the score. There is a great conviction behind the whole interpretation, both with the baton as well as the orchestra, which plays with a high level. It converts the recording into a vehement defense of the 1899 edition. Without a doubt this recording is one of the most interesting of the recent Bruckner panorama, a masterly reading of the Sixth Symphony on Lindoro.” (Miguel Ángel González Barrio in Diverdi, December 2010)

Wagner Tristan und Isolde and R. Strauss  Die Frau ohne Schatten, Dresden Opera Festival (2002)

“Countless bravos and stormy ovations concluded the performance of Wagner’s Tristan and Isolde…The real star of the evening was the Dresden Staatskapelle, in a performance of such urgent passion, such indomitable lust and magic glorification, thus giving the work it’s true breath of life. Ira Levin conducted this performance at very short notice, replacing Semyon Bychkov, and did so without rehearsals. This speaks for his sovereignty and strong nerves. The performance expressly underlined his high artistic level. Bravo!!” (Jens Daniel Schubert in Sächsische Zeitung, March 10, 2002)

“There is no doubt that this Die Frau ohne Schatten was the most sumptuous performance of this year’s Opera Festival in Dresden. Ira Levin, who replaced the ill Marc Albrecht, was in full control of the orchestra..these were four and a half hours of great opera where time flew by…” (Dresdner Neueste Nachrichten, March 25, 2002)