Press | Composer, Keyboardist and Conductor Raphael Fusco

Feature

May 25, 2023

Operawire

Q & A: Raphael Fusco On His Fairytale-Meets-Reality Opera ‘inSOMNIA’

In this interview, Fusco discusses his early experiences and the intricacies of his opera based on the Bavarian folklorist Franz Xaver Schönwerth. As the natural and supernatural blur, the composer asks us to question the nature of reality itself.

"Fusco is a leader in the world of opera today"

Acclaim

June 21, 2022

Cellesche Zeitung

Fireworks in a Class of their Own

A review of the world premiere of Un'alma innamorata with counter-tenor Nicholas Tamagna and i Porporini at the Schlosstheater Celle

“The highlight of the evening was the brilliant world premiere of “un’alma innamorata” by the composer Raphael Fusco…. Flashes of jazz, folk and classical scattered between the baroque structures. Fireworks in a class of their own.”

Acclaim

July 22, 2021

Mittelbayerische Zeitung Regensburg

Review of the world premiere of inSOMNIA in Amberg, Germany

"An extremely multifaceted, atmospheric tone world of pure poetry and powerful energy"

Feature

March 30, 2020

All About Jazz

Raphael Fusco: Remixed

Raphael Fusco defies stylistic boundaries, blessed with the ability to bridge the diverse worlds of contemporary classical and jazz.

Fusco can do it all, from whisper quiet to percussive and lush, allowing the sound to truly take flight.

Feature

January 9, 2019

Trax on the Trail

He’ll “Keep Yappin,’” but Don’t Call Him an Activist: An Interview with Composer Raphael Fusco

On October 1, a rare musical gem crossed the desk at Trax on the Trail. That gem was a canon à four, inspired by some of Joe Biden’s key phrases from the September 29, 2020 presidential debate. As luck would have it, the composer, Raphael Fusco, was more than happy to share with Trax on the Trail the backstory of his now famous creation.

"We’re all looking to connect to something and we call it different things because it helps us to identify with it better. I think that for me, when I compose, there’s always the question of “What are we connecting to?”