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“…skillful… engaging…a focus on the sound world within which each of the instruments exists – a world that … Anderson often seeks to expand beyond its traditional boundaries. Anderson gives the performers … numerous opportunities for solo display.”

“Douglas Anderson manages to create works that make a nod to the early modernist period yet sound thoroughly current and original. They are invigorating and yes, coherent in the best ways. “ “What in the end matters for us is […]

“The opera [is] just under an hour of unremitting intensity…Anderson’s music is expressive and vigorous, forcefully reflecting the drama at hand, and full of orchestral color and variety.  Chamber opera companies, wherever you may be, tune in.”

“As a composer, his skill was evident…Mr. Anderson’s spirited score plus Mr. Joffe’s inventive libretto captured (in a scant ten minutes!) a deliciously witty and sophisticated variation of [Faust’s] story.”

“Both operas featured lively orchestral playing…Douglas Anderson at the podium.” Re: Menotti’s The Telephone and The Medium

“Musically they were serious…there is a trio for female voices that is heartstopping, and the whole score is tight, tuneful, and completely enjoyable.” Re: V. Giannini’s Blennerhassett (stage premiere):

“The vocal lines pour as thickly and smoothly as sloe gin. The climaxes are perfectly calculated. There is not a single stumble during the dramatic interchanges.” Re: V. Giannini’s Blennerhassett (stage premiere):

“Miss Donnithorne’s Maggot was well performed last month by the American Chamber Opera Company; better than I have heard before…Douglas Anderson, conducting, drew eloquent lines from his instrumentalists.” Re: P.M Davies’ Miss Donnithorne’s Maggot

“Both pieces were performed by the company’s small orchestra as conducted with a light but controlled touch by their Musical Director, Douglas Anderson.” Re: B. Adolphe’s The Tell-Tale Heart and P.M Davies’ Miss Donnithorne’s Maggot:

“Both (performances) are excellently conducted by Douglas Anderson.” Re: D. Moore’s Gallantry and L. Bernstein’s Trouble in Tahiti