By Maya Shwayder, Boston Classical Review

The New England Philharmonic is a talented all-volunteer orchestra. While their passion is undeniable, their resources and scale differ from larger professional ensembles.

It’s good to keep this in mind when attending a concert like NEP’s season opener, which, was well-executed and enjoyable even with a few missed moments Sunday evening at Jordan Hall.

By Jonathan Blumhofer, Boston Classical Review

George Frideric Handel’s Messiah isn’t the only oratorio about the life of Christ: in addition to the Bach Passions, there are, among others, Berlioz’s L’enfance du Christ, Liszt’s Christus, and Richard Danielpour’s The Passion of Yeshua. But until 2009, the Baroque icon was the only one to set a libretto on the subject by Charles Jennens.

By Katherine Horgan, Boston Classical Review

The New England Philharmonic offered a typically bracing program on the theme of New England at Boston University’s Tsai Performance Center on Sunday afternoon. In its exploration of local landscapes and composers, the program cast the familiar in a new light.

By Jonathan Blumhofer, Boston Classical Review

Most of the time, the New England Philharmonic sticks with the new or recent; when they veer from that formula, it’s typically for a good reason.

One of those came along Sunday afternoon in the form of “Music and Mystery,” the orchestra’s annual family concert at Boston University’s Tsai Performance Center.

By Emery Kerekes, SF Classical Voice

The NEP programming model is irresistible. Every concert contains one or two chestnut works of the orchestral canon flanked by music new to Boston, New England, and the world. It’s an unprecedented template for a volunteer orchestra, garnering several nods from ASCAP’s prestigious Awards for Adventurous Programming.

By Stephanie Oestreich, Boston Classical Review

Tianhui Ng led the New England Philharmonic (NEP) through a complex yet intriguing series of world premieres and symphonic dances Saturday night at Jordan Hall. This program juxtaposed contemporary and established composers in an audacious yet successful fashion.

The fourth and final music director candidate led the orchestra with aplomb on Saturday night

By A.Z. Madonna Globe Staff,Updated June 20, 2022, 5:03 p.m.

On its worst days, the New England Philharmonic sounds like an above-average amateur orchestra, which is exactly what it is. On its best days, it rivals several professional groups in technical prowess, surpassing those same groups by a mile in spice and enthusiasm.

By Aaron Keebaugh, Boston Classical Review, June 19, 2022

Most successful conductors possess a singular strength of musical vision. Yet some lead with a gentle touch that allows for the music to unfold naturally.

Conductor makes impressive showing with New England Philharmonic

By Aaron Keebaugh, Boston Classical Review, May 2, 2022

Ng, one of four finalists for the vacant music director position, made a strong bid for the job at Sunday’s concert. (Photo: Pat Greenhouse/Globe Staff)

By A.Z. Madonna Globe Staff, May 2, 2022

A strong showing from New England Philharmonic’s first music director hopeful, Adam Kerry Boyles

By A.Z. Madonna, The Boston Globe, December 8, 2021

By Aaron Keebaugh, Boston Classical Review, December 6, 2021

For all the attention Amy Beach’s music continues to receive, certain works in her copious output remain unexplored.

By Mark DeVoto, The Boston Musical Intelligencer, December 6, 2021

The New England Philharmonic began its search for a successor to Richard Pittman with Adam Kerry Boyles on the podium on Sunday for a nicely varied program in the Tsai Performance Center at Boston University, its favored locale.

By Elisa Birdseye for The Boston Musical Intelligencer, October 20, 2021

The New England Philharmonic opened its 45th season on Saturday at All Saints Parish, Brookline under the direction of Composer-in-Residence Eric Nathan in his Boston conducting debut. He led a vibrant, sophisticated, and subtle concert that fittingly celebrated the return of the orchestra to live performance after the Covid. This occasion also marked the beginning of a search to replace longtime Music Director, Richard Pittman, who for 23 years, had nurtured the NEP into an orchestra that can hold its place with any in town. In a marriage made in heaven, NEP and Pittman have consistently championed living composers. He should take ample pride that this ensemble is the better for his quarter century of leadership.