“In this performance, that voice belongs to tenor Marc Molomot, whose intrepid singing of the Hauptmann’s angular, awkwardly high-lying music is one of this Wozzeck’s greatest strengths. Precisely what motivates the Hauptmann’s idiosyncratic actions is one of Büchner’s and Berg’s gnawing enigmas, but Molomot, ever a shrewd artist with an uncanny ability to topple façades […]
“The title protagonist…was embodied in physique, serpentine poses and baritone power by Alexander Dobson. He flashes his sword and prowls for women like Douglas Fairbanks reborn into lechery.” — Read more at urbanmilwaukee.com.
“Completed in 1962, this opera was never published and has rarely been performed; Odyssey had to get the permission of the composer’s granddaughter to obtain the manuscript from the Library of Congress. The result, in the performance Odyssey gave Friday at the BCA’s Virginia Wimberly Theatre, was well worth the trouble.” — Read more at […]
Baritone Alexander Dobson (Don Giovanni), a libertine whose gruesome comeuppance is delivered by one of the many people he has wronged, used a ringing, present sound and duplicitous charm to create the quintessential bad boy. — Read more at jsonline.com.
“…Douglas Williams, who sang both the Ferryman in Curlew River and Aeneas, seemed to have the measure of the room; he walked away with the evening’s vocal honors.” — Read more at zealnyc.
“Arguably the group’s smartest decision was hiring Seraphic Fire to join its first performance of Stravinsky’s “Threni: Lamentations of Jeremiah.” The six Miami-based vocalists who sang the solo roles helped elevate what could have been a drab and brutal reading of a 12-tone rite into a surprisingly listenable and spellbinding experience.” “But oh, those guests […]
“His Mozart Paris Symphony was a delight, full of gesture and rhetoric – seldom can its first movement’s rushing scales have had so much sheer meaning – but superbly balanced in a buoyant slow movement.” — Read more at The Scotsman.
“…from the moment that Nicholas McGegan took the podium to conduct the Handel and Haydn Society at Symphony Hall Friday night, it was evident that a more playful approach had come to visit. More than once I was tempted to pull the nearest person into a dance, so infectious was the pulse at times. Heads […]
“…McGegan stirred the whole ensemble to a double-forte frenzy, which slowly faded as Don Juan descended and disappeared from view, in as clear a musical depiction of damnation as could be imagined, and extremely effective.” — Read more at The Boston Musical Intelligencer. Photo: Kat Waterman
“…long-time collaborators Daniel Taylor and Suzie LeBlanc lit up the night with a dazzling display of virtuosity in a selection of Handel’s greatest arias and duos…Taylor and LeBlanc gave the sense of freshness that can only come from rigorous attention to detail.” — Read more at La Scena Musicale.