Quigley “hosted the finale with flair”

Posted on May 22, 2017 in Patrick Dupre Quigley, Reviews | No Comments
Quigley “hosted the finale with flair”

“Quigley, the ambitious founder of the much-recorded vocal ensemble Seraphic Fire, with a number of prestigious orchestral guest-conducting gigs under his belt, hosted the finale with flair.” — Read more at The Washington Post.

Halls leads with “nuance and perfect dramatic timing”

Posted on May 21, 2017 in Matthew Halls, Reviews | No Comments
Halls leads with “nuance and perfect dramatic timing”

“Guest conductor Matthew Halls, artistic director of the Oregon Bach Festival, led the program – which also included Shakespeare-themed music in the first half of the program — with nuance and perfect dramatic timing.” — Read more at cincinnati.com.

Bragle’s “supple, expressive voice”

Posted on May 20, 2017 in Meg Bragle | No Comments
Bragle’s “supple, expressive voice”

“Bragle sang beautifully: she has a supple, expressive voice and an exceptionally intelligent musicality. She sang the Genesis verses as offerings to be marveled at and was fully equal to intricate rhythmic and harmonic dialog with all sections of the entire choir.” — Read more at Theater Scene.

Cooley’s “immense personality and joy”

Posted on May 20, 2017 in Reviews, Thomas Cooley | No Comments
Cooley’s “immense personality and joy”

“The Cincinnati May Festival kicked off its new era on Friday night with a galvanizing “Ode to Joy” led by Markus Stenz, the first of four guest conductors this year…The quartet of soloists did not disappoint…Tenor Thomas Cooley sang his aria with immense personality and joy.” — Read more at cincinnati.com.

Cooley’s “Day of Judgement” with Music of the Baroque

Posted on May 16, 2017 in Reviews, Thomas Cooley | No Comments
Cooley’s “Day of Judgement” with Music of the Baroque

“The Mocker, Faith, Disbelief, One of the Blessed — provide great opportunity for outsized portrayal, and Thomas Cooley made the most of them.” — Read more at The Chicago Tribune.

Bachtrack: Return of Dominique Labelle to Göttingen

Posted on May 15, 2017 in Dominique Labelle, Reviews | No Comments
Bachtrack: Return of Dominique Labelle to Göttingen

“Labelle showed she has lost nothing in this regard during her time away from the festival. Her voice is still remarkable for its depth of timbre and its many colours, the strong gleaming high notes and equal power across its range…” — Read more at Bachtrack.

“Meg Bragle was a superb Mary Cleophas”

Posted on May 9, 2017 in Meg Bragle | No Comments
“Meg Bragle was a superb Mary Cleophas”

Meg Bragle was a superb Mary Cleophas, a part which emphasizes her strong alto register…if this orchestra is the shape of things to come, ABS fans must be overjoyed.” — Read more at San Francisco Classical Voice.

Halls’ “impassioned performance” with Calgary Philharmonic

Posted on May 6, 2017 in Matthew Halls, Reviews | No Comments
Halls’ “impassioned performance” with Calgary Philharmonic

“The concert opened with Ravel’s always welcome Pavan for a Dead Princess, a melodic gem and one of the composer’s most popular works. Gentle and pliant, this too was eloquently rendered by Halls and the CPO, opening a concert filled with beautiful music performed with the competence and care that Calgarians have become increasingly accustomed […]

Paula Murrihy’s “innocent grace”

Posted on May 6, 2017 in Paula Murrihy, Reviews | No Comments
Paula Murrihy’s “innocent grace”

“The versatile mezzo-soprano Paula Murrihy pulled her weight and more, singing the role of Semele’s sister Ino with innocent grace and soft-edged phrases and transforming into the imperious Juno with rage written on her face and venom lacing her voice.” — Read more at The Boston Globe. Photo: Kat Waterman

Paula Murrihy “commanded the stage”

Posted on May 6, 2017 in Paula Murrihy, Reviews | No Comments
Paula Murrihy “commanded the stage”

” From her first strutting angry mezzo entrance, Paula Murrihy commanded the stage, as intensity of attitude allowed her fully to embody jealous lovers Ino and Juno in terrestrial and heavenly spheres. Her vocal production, confident movement, and soul-mirroring countenance illuminated text and music as did only one other.” — Read more at The Boston […]