Megafon
ORNA LANGER

Wellber’s ability to maintain full control of the orchestra was astounding, as he whipped up a light and airy Viennese atmosphere. Haydn’s Symphony No. 103 (“The Drumroll”) is written in the same key – E-flat major – that typifies a light Viennese dance. Yet its opening has a muted depth with cellos and deep brass instruments, and then takes a dramatic turn with the sudden drumroll.
Haydn’s playful, spirited style, and especially the profuse bowing etiquette of the Viennese minuet, which invites the guests to a palace ball, contrasts with the tension built by the conductor during the slow movement. The entire wind section, the clarinets and bassoons, played with sparkle while the conductor strictly maintained the contrasts in the dynamics and slower sections that helped to highlight the conclusion, which was played with blazing accelerando (an increase in tempo that occurs simultaneously with an increase in pitch). The orchestra responded lovingly to the conductor’s baton.

“It’s fascinating to observe what Omer Meir Wellber interprets and takes from the score and subsequently transforms into sound. The musicians follow him, they accept this young maestro and together they have drawn fantastic results from this difficult oeuvre. Omer Meir Wellber lead the musicians carefully through all obstacles in the score and created a sound so colourful and nuanced that one sometimes forgets to breathe due to the excitement […].”

Yediot Aharonot
AMIR MENDEL

The Israeli Opera is presenting Otello as part of the celebrations marking the 200th anniversary of Verdi’s birth, and succeeds completely in delighting and thrilling its audience. […] The great achievement of the evening belonged to the conductor. Omer M. Wellber is a young conductor, but in the past years he has accumulated many hours of experience with Verdi, and this familiarity could be sensed throughout the production. In every operatic production, one of the major issues is the balance between the soloists, the producer’s power, and the conductor’s authority. The one whose influence could be seen at all times in the superb musical rhythm and in the formation of the orchestra’s dramatic power, was the conductor.”

Der Neue Merker
GERHARD HOFFMAN

Musical initiator of this wonderful production was young, Israeli conductor Omer Meir Wellber, who from the conductor’s desk literally set the stage on power. Smooth, rhythmically pointed, the Maestro determined the sound style of the precise, lively, featherweight playing Frankfurt Opera and Museum Orchestra that it was a delight to listen to. Regardless all tempi he still left the singers room to breathe. One should give this ambitious artist more assignments!

Berliner Morgenpost
KLAUS GEITEL

After the interval the ambitious Wellber conducted Gustav Mahler’s First Symphony in penetrating fashion, working his orchestra up, time and again, into veritable ecstasies of expression. These alternated occasionally with the indifferent and casual. As a result, the performance was a fluctuation of hot and cold emotions just as Mahler might have imagined in his early years.

Klassik.com, July 28, 2012
DR. DANIEL KRAUSE

On the evening of July 27, we were treated to an extremely impressive performance. Omer Meir Wellber's feverish, unsentimental, and nervous (in the very best sense) conducting style
stressed fast tempos and rhythmic tension. Forced dynamics were fortunately rare, as Wellber clearly understood how to skillfully blend the various orchestral parts. Following an initially
slightly impure intonation, the orchestra rose to the occasion, providing a precise, clear musical performance in a dignified manner that befitted the festival atmosphere.

La Stampa
ALBERTO MATTIOLI

The exceptional talent of Omer Meir Wellber, 31, is confirmed by the fact that he has been successful all over the world...

What a Carmen! That vitality, that drama (the overture is the most brilliant I've ever heard), that orgiastic sense of rhythm, color, effects. One is at first blinded, then admiring, and finally captivated. Regarding Elisir, it is not so much that it is a "conductor's opera" but the fact that for once it actually has one, and this exceptional quality makes us understand how miserable the usual metronomes really are.

Avvenire, 
PIERACHILLE DOLFINI

Israel-born Omer Meir Wellber could be defined as the new Barenboim. He has been described as one of the most significant emerging talents in the field of orchestral conducting, and demonstrated his talent last year on various occasions such as Aida in Padua, Rigoletto, Traviata, and Trovatore in Vienna and Li Schiaccianoci at La Scala in Milan.