Press

“Over the past four seasons, Goodman has been called upon to fill in for Michael Tilson Thomas and other conductors as well as play a major role in the orchestra’s streamed season of chamber music and chamber orchestra performances during the Covid pandemic. He has consistently risen to the challenges, offering well rehearsed, musically insightful performances.

“Goodman’s pitch perfect combination of abandon and subtlety effectively conveyed Kodaly’s mix of symphonic brilliance and indigenous authenticity.” 

- Lawrence Budman
South Florida Classical Review

Making his final appearance as NWS conducting fellow, Chad Goodman directed the evening’s most satisfying performance. His lithe, cogent account of the Overture to Mozart’s The Magic Flute was thrown off with spare vibrato, crisp attacks and bracing articulation. This stylish Mozart, executed with verve, was a fitting coda to Goodman’s four-year tenure during which he was called upon to take over performances from Michael Tilson Thomas and other previously scheduled conductors.

-Lawrence Budman
South Florida Classical Review

“Goodman drew robust and precise articulation from the string players and illuminated the score’s vivid imagery and sense of wonder.”

- Lawrence Budman
South Florida Classical Review

“Goodman led the orchestra with precision, agility and fervor, introducing a note of serenity into the heroic themes. The dynamic nuances were especially well-shaped and the strings shone in the majestic final section.”

- Nevena Stanić Kovačevic
South Florida Classical Review

“Asimismo auspicioso fue el debut del flamante becario en dirección orquestal Chad Goodman a cargo de la obertura Egmont de la música incidental de Beethoven sobre la pieza de Goethe. Curiosa aunque apropiadamente lenta en los compases iniciales, Goodman supo dibujar con la amable colaboración del oboe, un crescendo notable para llegar a la reciedumbre beethoveniana con el requerido rigor heroico de este poema tonal en miniatura.”

- Sebastian Spreng
Miami Clásica

"There was an overwhelming sense of danger in the way director Chad Goodman pushed the players to expressive extremes. Yet this wasn’t some messy free-for-all — Goodman charted a clear formal trajectory, taking his time with the ascending stacks of fourths and Tristan-like pillar chords that serve as structural markers throughout the piece."

"Elevate offered a performance brimming with ecstasy"

"the group [Elevate Ensemble] did manage to channel the energy of an all-out brawl into their exhilarating interpretation."

- Joe Cadagin
San Francisco Classical Voice
 

"Conductor Chad Goodman led the work [Mason Bates' Garages of the Valley] with energy and precision, producing an impressive result in the playing."

- David Bratman
San Mateo Daily Journal
 

"Under the direction of Chad Goodman, harpsichordist Derek Tam and the members of Elevate...ignited their intimate performance space while shattering stereotypes about how a harpsichord should sound."

- Jessica Balik
San Francisco Classical Voice