What the press said....

Monica Buckland opened the concert with  Rimsky-Korsakov’s “Russian Easter” op. 36, proving her ability to give a piece inner coherence even when it consists of different episodes.  
Universitätsorchester Dresden, Lukaskirche Dresden
Dresdner Neueste Nachrichten, 09.02.10


In selecting Weill's second symphony, Monica Buckland and her musicians set themselves a difficult challenge, which they have pulled off with great panache. The edge, aggression, intransigence and tragedy of the work were perfectly presented. The performance showed how modern this music can still sound today, if it is presented with intensity and interpretative quality like this.
Kammerphilharmonie der TU Dresden, Lukaskirche Dresden
Dresdner Neueste Nachrichten, 02.02.10

The symphony known as the “Liturgique” begins with a Dies irae, which Buckland interpreted with great expressiveness... in the Finale, an unusual Dona nobis pacem, Buckland shaped an almost grotesque-sounding march and, returning finally to the mood of the previous movement, created an atmosphere that suggested peace had come.
Honegger, Symphony No. 3 “Liturgique”
Universitätsorchester Dresden, Lukaskirche Dresden
Dresdner Neueste Nachrichtungen, 10.03.09


... the programme of their latest concert, with its unusual works and clear dramaturgy, has to be considered one of the most interesting of the season. [...]
Monica Buckland governed this energetic music [Milhaud] with great aplomb, so that despite the intricate scoring, the orchestra was completely secure. [...]
Here [Ravel], the varied, distinct atmospheres and characters were well displayed.
To reiterate: a concert that deserves the highest praise for its intriguing programming, intelligent dramaturgy and meticulous performance.
Milhaud, Saudades do Brazil
Rosauro, Concerto for marimba and strings
Francaix, Sept danses après Les malheurs de Sophie
Ravel, Suite: Ma mère l’oye
TU-Kammerphilharmonie, Lukaskirche Dresden
Dresdner Neueste Nachrichtungen, 10.02.09


...under Monica Buckland, the refined and beautiful sound thrilled the audience.
Milhaud, Rosauro, Francaix, Ravel
TU-Kammerphilharmonie, Judeichbau Tharandt
Sächsische Zeitung, 07.02.09


[Monica Buckland] proved that she was more than equal to the emotional tumult of the Nicolai. The same applies to the Suite from Tchaikovsky’s ballet [Nutcracker], through which Buckland led the orchestra with great sensitivity.
Nicolai, Christmas Overture “Vom Himmel hoch“
Tschaikowsky, Nutcracker Suite Op. 71a
Universitätsorchester Dresden, Lukaskirche Dresden
Dresdner Neueste Nachrichtungen, 11.12.08


Buckland ... takes unmistakeable pleasure in large-scale dramatic action, even a distinct passion. The clean and balanced sound of the brass at the beginning was a witness to efficient work in rehearsal, as was the purity of the high strings’ intonation. ... Buckland formed the dynamic developments with charm, while often highlighting sharp contrasts. Lightheartedness and melancholy were interwoven in the third movement [of Dvorak’s 8th symphony].
Mendelssohn, Overture Ruy Blas
Beethoven, Violin concerto
Dvorak, Symphony No. 8
Universitätsorchester Dresden, Lukaskirche Dresden
Dresdner Neueste Nachrichtungen, 10.06.08


Under the masterful leadership of Monica Buckland, the Tonhalle Orchestra
achieved a rich and colourful sound.
Tages-Anzeiger, 22.05.04


Admiration for the performance ....
Neue Zürcher Zeitung, 21.05.04


Monica Buckland possesses a differentiated and expressive technique, and her
conducting is analytical and acute. The Tonhalle Orchestra reacts swiftly
and subtly, fully responsive to the energy of the conductor.
Der Zürcher Oberländer, 21.05.04


“The homogenous sound was a pleasure. Monica Buckland Hofstetter approached the climaxes with a masterful instinct for the long line”
Hermann Suter, Le Laudi, Lehrergesangverein Zürich and Tonhalle Orchestra
Neue Zürcher Zeitung, 7.04.03

A warmth of sound ... It was wonderful.

J.S. Bach
Zürichsee-Zeitung, 23.12.02

The marked signature, the line, the character, all indicate that the reason for success lay in the hands of conductor Monica Buckland. Her unshowy authority [is] a style of conducting that allows the audience time and space.

Bündner Tagblatt, 19.2.02

... a rewarding and spectacular performance. Monica Buckland conducted [Purcell’s King Arthur] with consummate authority ... altogether an enormous musical pleasure.

Tages-Anzeiger, 28.1.02

... a talented conductor who makes symphonic works sound like chamber music.

Dnes 7.2.00

Exciting, commited and authoritative music-making.

Luzerner Zeitung 11.1.00

... a committed performance under the supremely good conducting of Monica Buckland Hofstetter.

Neue Zürcher Zeitung 29.11.99

... an elegant and polished performance.

Washington Post, 22.6.99

... the carefree nature of the composition was mirrored in her invigoratingly fresh interpretation.

Basellandschaftliche Zeitung, 29.3.99

... an exciting intensification, fully conveying the drama of the music.

Basellandschaftliche Zeitung, 17.11.98

Monica Buckland Hofstetter achieved an emotionally exciting interpretation that demonstrated above all the poetry of the music.

Basellandschaftliche Zeitung, 28.6.97

Under Monica Buckland Hofstetter the performers demonstrated the simplicity and transparency of this very delicate and subtle work.

Basler Zeitung, 11.3.97

The energetic dynamism of Monica Buckland Hofstetter was completely convincing.

Musik + Theater, tonhalle forum, November 1996

Discipline, rhythmic and dynamic precision and excellent expressive ability ... a convincing performance.

Neue Zürcher Zeitung, 31.5.94

... a beguilingly lucid sound ... in Monica Buckland Hofstetter’s lean and elegant performance.

Badener Tagblatt, 24.10.94

What Monica Buckland Hofstetter conjured out of the orchestra was effervescent music, presented in an exquisitely sensitive interpretation, in all its detail.

Aargauer Tagblatt, 25.10.94