CRITICAL ACCLAIM
FILM CONCERTS: LIVE-TO-PICTURE
Film music was Brett Mitchell’s entry point into the orchestral world, and live-to-picture concerts remain among his deepest passions on the podium. Having led more than 25 unique titles with some of America’s finest orchestras, he brings to this repertoire the same technical command and musical seriousness he applies to the standard symphonic canon. Working without click track, he leads these performances with a flexible, musician-centered approach that preserves the expressive freedom of a concert setting while maintaining precise synchronization to picture, resulting in performances that feel both exacting and vividly alive.
NEW YORK PHILHARMONIC
“Mitchell possesses the right credentials. Still, this was no easy task given his truncated rehearsal time and lack of familiarity with the players… School may be almost out, but the Philharmonic passed this particular test with grit.”
The New York Times (2025)
“Under Mitchell, the Philharmonic was rhythmically secure and well-attuned to the nuances of Puts’s captivating score, and electrifying in the rapturous rendition of ‘The High Priestess of the Desert.’ Mitchell expertly managed Daphnis et Chloé’s frequent tempo changes, alternating between languid wooing, ceremonial processions, exhilarating dances, sudden scenes of conflict, and tumultuous revelry.”
Classical Source (2025)
PASADENA SYMPHONY
“Berlioz’s Symphonie fantastique requires sustained energy and physical stamina from the conductor, orchestra — and perhaps the audience. Mitchell led with commitment and precision, showing that his connection with the orchestra has deepened since his inaugural season last year.”
San Francisco Classical Voice (2025)
“For Mitchell, it was a remarkably assured debut that suggests exciting times ahead for the Pasadena Symphony… The interpretation revealed layers of chamber music-like intimacy… The final movement built with inexorable momentum to a conclusion that was both musically thrilling and emotionally cathartic.”
Scene and Heard International (2024)
“Mitchell showed why he was selected as the PSO's new music director. He very capably served up an exciting rendition of the Mahler First and had the orchestra playing at their finest.”
Culture Spot LA (2024)
THE CLEVELAND ORCHESTRA
“Mitchell demonstrates once more the strength of his commitment to American music with an impassioned and absorbing evening of works by Bernstein, Copland, and Augusta Read Thomas. Through Mitchell and the orchestra, Copland spoke his unique harmonic language and conjured everything from dramatic vistas to serene, intimate conversations…a sweeping and regal performance.”
The Plain Dealer (2017)
“…a series of miniature triumphs, surprisingly bold performances that made even the most familiar of tunes sound fresh and new.”
The Plain Dealer (2017)
“Ehnes and Mitchell gave a reading that was uncommonly poetic, striking a balance between the concerto’s lyricism and drama, showing a thorough understanding of Barber’s brand of mid-century American romanticism... Mitchell managed the orchestral textures with transparency, while not inhibiting occasional rapturous outpourings.”
Bachtrack (2015)
“Mitchell caught details that almost every other conductor stomps over, yet did so with emotion, life, and meaning… The slow movement was achingly intense, leading to a finale as close to perfect as I ever expect to hear in a live concert.”
“It is unlikely that Mitchell had any doubts about his success after the thunderous ovation he received from the large audience. But if he did, it would have been swept away when the orchestra gave Mitchell a rare salute: during the third or fourth curtain call, the orchestra declined to stand for a bow, instead shuffling their feet and tapping their stands in their own ovation.”
Seen and Heard International (2014)
“Mitchell did himself proud by Weber, Mozart and Shostakovich on a night that will no doubt be inscribed in the annals of Assistant Conductors’ Big Opportunities. The results Mitchell and the orchestra achieved on Sunday were amazing.”
Cleveland Classical (2014)
“Propulsive, fiercely focused…and flawlessly paced. The conductor himself may have been a late addition to the program Sunday, but his actual work, a controlled, emphatic performance defined by effective use of silence, was hardly that of a newcomer.”
The Plain Dealer (2014)
INTERNATIONAL ENGAGEMENTS
“What a fabulous concert this was. Superb programming, scintillating playing, and absolutely first rate conducting by Mitchell. All of Bernstein’s intensely individual story was brought to life in this marvelously involving concert under the baton of one of America’s up and coming conductors.”
Stuff (2018)
“Mitchell controlled both momentums and dynamics with great tactical and musical skill... Respighi actually wanted the ground beneath his army’s feet to tremble with the excitement of it all, and conductor and players triumphantly achieved that impression.”
Middle C (2018)
“Mitchell proved to be a lively host in his spoken introductions and drove the mighty music machine that is the New Zealand Symphony Orchestra with elan.”
New Zealand Herald (2018)