Pierre Vallet led Sunday’s performance, filling in for Yannick Nézet-Séguin, and handled it beautifully. Big, round brasses and crackling strings distinguished the overture, and mahogany-toned cellos pulsated with romance. Fleeting moments of presentiment had a thick, slightly darkened cast.

Sombart’s playing is superb: technically precise but possessing a flexibility and freedom that lets the music breathe. Vallet conducts with an innate understanding of the soloist’s intentions.

The hushed music as she entered the garden was handled with particular elegance by the orchestra, conducted in both works with an ear for transparent textures and fleet motion by Pierre Vallet.

Vallet gets a spirited reading of the score from members of the Saint Louis Symphony Orchestra.

But because the music is so alluring, and because the music and much of the dancing were performed with such grace and transcendent beauty, and because the singing by the three principals (Jennifer Johnson Cano, Orfeo; Maria Valdes, Amore; and Andriana Chuchman, Euridice) is so magnificent, it really doesn’t matter what stage directors and scenic designers and costumiers bring to a crown jewel such as Orfeo.

"Fortunately, the beauty of some of the brilliant melodic passages and its interpretation by the acclaimed performers, as well as the chorus and orchestra of the theater conducted by Pierre Vallet, delighted the audience."

Although Seiji Ozawa failed to come this time, Pierre Vallet who held the baton that night still contributed to the unique charm of the opera. One Japanese music critic once said that Ozawa's Bartok is the best in the world, and Mr. Vallet inherited its heritage after 15years being with Seiji Ozawa. He fully expressed the mysterious, gloomy atmosphere of the opera with unique music, which was a perfect combination of the performance with the two singers.

"His performance was a rendition of the most precise nature, blending a care for details into an effective dramatic arch, one congratulates this conductor who approaches music as a wise man...always respecting the balance between the stage and the pit."

“ with solid direction from Pierre Vallet...

Pierre Vallet conducted with a fine feeling for the opera’s musical rewards.

Pierre Vallet’s refined approach to the luscious overture immediately set the tone from the start for the audience to rest assured that an honest delivery would be the key overall theme.

"The Met needs good conductors right now, and on the strength of this performance, it's got a new one to call upon..."

Sombart teams up with the Royal Philharmonic Orchestra under the baton of French conductor Pierre Vallet for six captivating recordings on the new album.

The overture itself was a masterpiece of melody which Maestro Vallet conducted with Gallic verve

P. Vallet's interpretation of the concept of this opera was somewhat reminiscent of the one offered by Riccardo Muti.

Beethoven Piano Concertos recording named one of 10 great new Beethoven recordings released in 2020

In the pit, conductor Pierre Vallet led the 1859 French version of the score (supervised by Hector Berlioz) with idiomatic style. This split of the St. Louis Symphony Orchestra played this graceful music with skill and true artistry;

...it was a very creditable performance under the baton of Pierre Vallet, who led crisply and cleanly...

"...Vallet kept a well-nigh perfect tempo going. Fast enough to capture the music's effervescent essence and keep its headlong drive going, without pushing the limits of his players."