Warwick Stengårds has had an illustrious career conducting both classical and modern operatic works across Australia, Europe, and New Zealand. Below is a compilation of reviews highlighting his expertise and impact on the field:

Ghost Sonata (Opera Australia, 2019): Stengårds conducted the Australian premiere of Aribert Reimann’s Ghost Sonata, receiving glowing reviews for his precise and atmospheric interpretation. The Australian Arts Review noted that he “breathed new life” into the complex 1984 score, leading an intimate chamber orchestra that perfectly captured the eerie, supernatural quality of the opera (Australian Arts Review).

Madame Butterfly, Opera Australia 2018 Conductor Warwick Stengards leads a chamber-sized orchestra of 11 musicians, achieving a very full rendition Puccini’s beautifully expressive score despite reduced orchestrations. Use of keyboard effectively creates sounds such as harp and ornamental bells and chimes. (Man in Chair)

Christina’s World, Ross Edwards (State Opera of South Australia, 2019) Throughout, conductor Warwick Stengards’ direction was exemplary with clarity and purpose always to the fore and Edwards’ subtle and highly individual use of colour used to emphasise and support both the singers and Hewitt’s plot. In this score, there is much which is eminently tonal and yet, at the same time, recalls not only traditional British folk song and such adaptors of the field as Britten, Vaughan Williams and Copland, it also points towards a musical lineage which is distinctly Australian, born of its strong British ancestry. Particularly impressive is Stengards’ ability to create a life-like balance between the vocalist and and accompaniment, whilst realising the importance of tuned percussion within Edwards’ musical landscape.

Wozzeck, Alban Berg. (Opera North, 1996): Stengårds’ interpretation of Wozzeck was characterized by its “dark, thrilling intensity.” Critics lauded his ability to handle the atonal complexity of Berg’s opera, highlighting how his conducting captured the raw, emotional depth of the characters while maintaining orchestral clarity amidst the opera’s psychological intricacies. (Opera Today).

The Rake’s Progress (Igor Stravinsky): His work on The Rake’s Progress received praise for its rhythmic precision and ability to balance the opera’s humor with its tragic undertones. Critics noted how Stengårds brought out the “spiky outlines” of Stravinsky’s music, emphasizing both classical and modernist elements in productions at the Vienna State Opera and beyond. His skillful orchestral leadership ensured that Stravinsky’s complex rhythmic structures were conveyed with clarity. (The Quarterly Review).

Heloise and Abelard (James Tahourdin): Stengårds (WA Opera 1993) The musical direction of this modern opera highlighted his sensitivity to contemporary tonalities and dense orchestral arrangements. Critics commended his ability to balance the intensity of the score with the emotional narrative, making the complex modernist soundscape accessible and emotionally resonant for the audience (Opera Today).

Love Burns (Graeme Koehne) South Australian Festival 1992: For this world premiere, Stengårds was praised for his adept handling of Koehne’s fresh and rhythmic score. His nuanced direction allowed the opera’s jazzy, dynamic elements to shine, keeping the energy alive while supporting the vocal performances with an exacting yet playful orchestral sound. (Australian Arts Review).