Alejandro Hernandez-Valdez





“A conductor ‘with the incisive clarity of someone born to the idiom.’”


-The Washington Post



"Texas Bach Fest Sees Energy Surge With New Director."

But there’s more to Hernandez-Valdez than mastery of Bach. His programming choices also signaled an intention to up the festival’s game in music of the modern era, into the present, and to reflect the region’s Hispanic heritage. 

Mike Greenburg, Classical Voice North America


"Alejandro Hernandez-Valdez’s New Orchestra of Washington has constituted itself in the forefront of this smaller-is-better movement."

On Saturday the orchestra fielded an outstanding group of 10 string-players for a program of early-20th-century British music at downtown’s United Church of Christ. Playing with the rich plummy sound so often associated with British contraltos, the sections, only two to a part (except for the three first violins), managed a gratifying unanimity that extended even to their vibratos. As a conductor, Hernandez-Valdez focused on shape and inflection, brought to life in the subtle contours and nostalgic glow of the Larghetto from Elgar’s “Serenade for Strings” and the Slow Dance from Vaughan Williams’s “Charter House Suite.”

Joan Reinthaler, The Washington Post


"This was indeed a stirring concert."

In Mr. Hernandez-Valdez’s arrangement, “Song of Nature” runs a crowded 10 minutes or so. The music traverses the dynamic gamut, soft to loud, several times, but the message, generalized as it was, was effectively conveyed by the excellent chorus of 35 and the narrator, David Rockefeller Jr.

For the requiem, Musica Viva deployed 11 players in Joachim Linckelmann’s arrangement for chamber ensemble to good effect, and again, the chorus came through loud and clear. With Devony Smith and Joseph Beutel as fine vocal soloists in the Brahms, and Shabnam Abedi in the Bernstein, this was indeed a stirring concert...

James R. Oestreich, The New York Times