Links below open on the Dallas Opera site. More video samples are available upon request.

Puts, “Komm, Frühling” from Silent Night (Dec. 2016)
Dallas Opera Orchestra, Dallas, TX
Soprano: Kirsten MacKinnon; Tenor: Jonas Hacker

Puccini, “Era eguale la voce” from Gianni Schicchi (Dec. 2016)
Dallas Opera Orchestra, Dallas, TX
Baritone: Marco Nisticò

Chaowen Ting uit Taiwan, een zeer intelligente vrouw… was het uitstekend. Dat was ongelooflijk. Dat lijkt soms vooral een technische slag, maar in dit geval was het een kwestie van intens muzikaal begrip. Jet was trouwens niet allen opvallend wat ze met Mahler deed, maar ook met Mozart Symfonie nr. 39. Een uizonderlijk bgaafde vrouw.

Chaowen Ting from Taiwan, a very intelligent woman … it was excellent. That was incredible. It sometimes seems like a technical battle, but in this case it was a matter of intense musical understanding. Jet, by the way, was not only striking about what she did with Mahler, but also with Mozart Symphony No. 39. An exceptionally gifted woman.

~ Interview with Maestro Haitink ● in ‘Als je het een beroep kunt noemen” by Niek Nelissen

“ Chaowen Ting aus Taiwan war bei Mahlers erster Sinfonie gefordet: Den zweiten Satz mit dem Ländler-Gassenhauser dirigierte sie mit sichtbarer Freude an der schmissigen Musik. Sie gab den Instrumentengruppen energisch Anwiesungen und ließ differenziert gestalten.” .

Chaowen Ting from Taiwan performed Mahler’s first symphony: She conducted the second movement with the Ländler with visible pleasure in the slick music. She vigorously led each instrument group and created different sounds with them.

~ Veronika Pantel ● Südkurier

Chaowen Ting conducted the duet “Komm, Frühling!” from Kevin Puts’ Pulitzer Prize-winning opera Silent Night. She did a remarkable job with the many nuances on this stunningly beautiful selection. She was right with the singers all the way, supportive without being too loud, and never calling attention to herself.

~ Gregory Sullivan Isaacs ● Theater Jones ~

She was brilliant… From the first beat, Ting’s conducting style communicated a clear sense of direction for the orchestra and the audience. Ting’s interpretation of the Dvorak [Symphony No.7] took the audience on the rollercoaster of mounting tensions, fleeting moments of ease, and the repetitive plunges back down to the depths of the soul. With Ting as conductor, you could see the musicians of the RPO pushing themselves to give every ounce of musicality that she requested from them. The audience was so absorbed by the last beat that the length of the silence after the final note was the loudest of applause.

~ Paloma Capanna ● Rochester City Newspaper ~

Ting’s musical direction is stylish and clear, and her cast sings with precision under her baton.

~ Rafael de Acha ● Concerto Net ~