“The Mother of Us All” featuring Marc Molomot is “Best of 2017”

Posted on Dec 11, 2017 in Artist News | No Comments
“The Mother of Us All” featuring Marc Molomot is “Best of 2017”

Virgil Thompson’s The Mother of Us All, featuring Marc Molomot in role of John Quincy Adams, has made two “Best of 2017” lists. Links are below! — The New York Times – WQXR

Murrihy’s “entrancing” debut with Boston Baroque

Posted on Dec 10, 2017 in Paula Murrihy, Reviews | No Comments
Murrihy’s “entrancing” debut with Boston Baroque

“Irish mezzo-soprano Paula Murrihy made a memorable Boston Baroque debut, with a dolefully entrancing “He was despised.” Her vowels were tall, her lines cleanly sculpted, and her timbre refreshingly earthbound.” — Read more at The Boston Globe.

Adams’ “stirring account” of Handel’s Messiah

Posted on Dec 9, 2017 in Hadleigh Adams, Reviews | No Comments
Adams’ “stirring account” of Handel’s Messiah

“When the baritone Hadleigh Adams made his entrance, with a stern, declamatory and fortissimo “Thus saith the Lord,” a couple audience members visibly jumped in their seats. After the mellow, fluid tones of the tenor, these words came as a game changer, intense and operatic. He gave a stirring account of the slow crescendo of […]

Hadleigh Adams’ “comic tour de force” with LA Phil

Posted on Dec 6, 2017 in Hadleigh Adams, Reviews | No Comments
Hadleigh Adams’ “comic tour de force” with LA Phil

“The baritone Hadleigh Adams delivered a comic tour de force as General Lansing, who becomes unhinged as he extolls a Trumpian “wall of defense” that is supposed to keep aliens at bay. Gosfield gives him a full-on mad scene, with deranged atonal coloratura.” — Read more at The New Yorker.

Panthaki’s “expert interpretive skills” at BEMF

Posted on Dec 5, 2017 in Reviews, Sherezade Panthaki | No Comments
Panthaki’s “expert interpretive skills” at BEMF

“Sherezade Panthaki, a newcomer for the festival we hope to hear here again soon, sang the aria with a full palette of tonal color and expert interpretive skills. In the da capo repeat of the first theme, Panthaki mined the passion inherent in the aria for all it was worth.” — Read more at Berkshire […]

McGegan and Panthaki bring Vivaldi to St. Louis Symphony

McGegan and Panthaki bring Vivaldi to St. Louis Symphony

“McGegan is always fun to watch as he dances about the podium, and his expressiveness set the tone for the entire concert…First came two arias from Vivaldi’s first opera, composed in 1713, “Ottone in villa.” “Gelosia, tu già rendi l’alma mia” is a showy piece; it was sung brilliantly by soprano Sherezade Panthaki.” — Read […]

Butterfield and “the lustrous-toned” Moore in Baltimore

Posted on Dec 1, 2017 in Benjamin Butterfield, Diana Moore, Reviews | No Comments
Butterfield and “the lustrous-toned” Moore in Baltimore

“The vocal soloists — soprano Alisa Jordheim, tenor Benjamin Butterfield, bass-baritone Michael Dean and, especially, the lustrous-toned mezzo Diana Moore — sang vividly.” — Read more at The Baltimore Sun.

Molomot’s “Captain” in Houston Symphony’s Wozzeck receives Grammy nomination

Posted on Nov 30, 2017 in Marc Molomot, News, Recording | No Comments
Molomot’s “Captain” in Houston Symphony’s Wozzeck receives Grammy nomination

“Coming on the recent heels of winning the equivalent of a European Grammy known as the ECHO Klassik Award, the Houston Symphony has now earned a nomination for an American Grammy. It’s in the category of Best Opera Recording, and it’s for their recording of Alban Berg’s Wozzeck, the title referring to the tragic main […]

Molomot a standout at Hudson Hall

Posted on Nov 22, 2017 in Marc Molomot, Reviews | No Comments
Molomot a standout at Hudson Hall

“Standouts included…Marc Molomot, droll as John (Quincy) Adams, who has to conquer his snobbery to woo a lady of lesser station.” — Read more at the Wall Street Journal.

McGegan and Cleveland deliver “perfect 18th century package”

Posted on Nov 18, 2017 in Nicholas McGegan, Reviews | No Comments
McGegan and Cleveland deliver “perfect 18th century package”

“His expertise in the early Classical period radiated through a performance marked by sharp dynamic contrast, tapered phrasing, and keen attention to detail. To the extent that it’s possible to enliven and spruce up Mozart’s music, McGegan did so. The Finale was a pure Classical thrill ride. Repeatedly, in a movement marked Presto, McGegan rallied […]