About the Freisinger Chamber Orchestra

The Boston-based Freisinger Chamber Orchestra began in June, 2008. We perform everything from the standard repertoire to world premieres.

The Mission of the Freisinger Chamber Orchestra is to present music from the baroque to the twenty-first century, including premieres.  Our programming aims for variety of musical styles. The FCO features emerging soloists and composers.  The orchestra provides the opportunity for college-aged music students and professionals to perform great chamber orchestra repertoire.  It also provides the Boston area public the chance to hear wonderful music at a reasonable cost.

The strings and winds are mostly graduate students and alumni from Boston University, New England Conservatory, the Longy School of Music, and Boston Conservatory. FCO concert performances also feature emerging singers in repertoire from opera to Broadway, accompanied by the conductor at the piano.

In addition to concerts, we host readings of large orchestral works (Mahler, Bruckner, Berlioz, Debussy, Stravinsky, Schoenberg, Beethoven, Schumann, Dvorak, Strauss, Ravel, Sibelius, Elgar), which provide Boston’s excellent young professionals (and skilled amateurs) opportunities to play large orchestral masterpieces by great composers.

Our Board of Directors includes:

Vasiliy Medved, DMA  President

Luiz Castelões,   DMA  Treasurer

Peter Freisinger, DMA  Clerk

Chao-Jan Chang, DMA Past President

The FCO is a 501(c)(3) non-profit organization.

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The FCO was a finalist for The American Prize Competition for its programming for 2009-2010 and received honorable mention.  We were also semi-finalists for our 2010-2011 Programming.

Peter Freisinger’s art is evident in every aspect of the Freisinger Chamber Orchestra’s performances: In his presence at the podium–energetic, the conducting is expansive and graceful, stopping just short of balletic–and in his programming, which includes discussions with the featured living composers...

-The Boston Musical Intelligencer

Peter’s musicality cannot be missed. With great sensitivity he finely shaped the folk speech of the Goleminov orchestral pieces.  His operatic flair displayed as piano accompanist for Bizet, Puccini, and Mozart, was everywhere in evidence.

Throughout the program, a youthful orchestra followed Freisinger’s moves to a T.

-The Boston Musical Intelligencer