På søndagens konsert i Schenectady var det to anmeldere tilstede i Memorial Chapel.
Det resulterte i hyggelig lesning dagen derpå.
The Daily Gazette (Schenectady, NY) skriver blant annet:
(...) From the opening bars of Vivaldi's Concerto in G minor for Violin, the orchestra sounded robust, played with good cohesion among sections, and were so homogenous and balanced they worked as one player. Biondi's six years with the orchestra have clearly paid off. They have taken on his voice in many ways, especially in turning many a technical passage into a virtuosic display and the vitality with which they play.
Biondi, who played standing near the concertmaster position, is an especially vigorous, fiery player who likes brisk, even electrically-charged tempos, taut rhythms and technical precision. His tone, like the orchestra's, ranged from aggressive to sweetly singing. But it was his surprising uses of dynamic contrasts that could turn traditionalists on their ears. Since baroque scores rarely have any indications of how loud or soft to play, Biondi didn't hesitate. He ran the gamut from swells to sudden bursts.
These worked especially well in the Vivaldi, Bach's Suite No. 4 in D Major and Swedish composer Johan Helmich Roman's "Music for Drottningholm" (1744). The swift switches from soft or medium levels to a dug-in loudness invigorated. The softly played scale that ended the Vivaldi surprised and pleased. The Bach was robust and spirited and the Roman was bouncy. (...)
The Times Union (Albany, NY) skriver blant annet:
(...) From start to finish, there were fresh and arresting qualities to the Stavanger Symphony Orchestra's Sunday afternoon performance at Union College. (...) The program progressed chronologically through five composers, from the high Baroque through to the late classical eras. With commanding tympani and brass, Bach's Suite No. 4 in D Major, BWV 1069 put us in a royal court. It was full of nuanced phrasings and colorings, usually bouncing between the strings and woodwinds.