Agnew & Panthaki with Music of the Baroque

Posted on Apr 24, 2018 in Artist News, Paul Agnew, Sherezade Panthaki | No Comments
Agnew & Panthaki with Music of the Baroque

Panthaki’s seamless legato and fervent commitment to words and music in Handel’s “Salve regina,”…had this rarity falling most gracefully on the ear…Agnew’s numerous seasons with MOB, as both tenor soloist in the Bach Passions and, more recently, conductor, presaged the stylish refinement of sound and feeling he achieved on behalf of Pergolesi’s sacred masterpiece. — […]

Quigley’s “control” and “precision” in Pärt’s ‘Passio’

Posted on Apr 15, 2018 in Patrick Dupre Quigley | No Comments
Quigley’s “control” and “precision” in Pärt’s ‘Passio’

“Quigley, who had to be something of a human metronome as he counted through the work’s many moments of silence, had strict and admirable control of his forces, who made their entrances with exemplary precision.” — Read more at Palm Beach Arts Reporter

NY Times: An Opera Worth Fighting Over [Stubbs conducts Juilliard Opera]

Posted on Apr 13, 2018 in Artist News | No Comments
NY Times: An Opera Worth Fighting Over [Stubbs conducts Juilliard Opera]

“Cuts and other alterations were made to bring “Hippolyte” closer to what was expected. But Stephen Stubbs, the conductor of the Juilliard production and an artistic director of the Boston Early Music Festival, said the original 1733 version “represents Rameau’s undigested thoughts about what opera should be.” This is essentially the version Juilliard will perform, […]

McGegan, PBO, Panthaki “precise and expressive” in Chicago

McGegan, PBO, Panthaki “precise and expressive” in Chicago

“In each the singers and players were as stylish, precise and expressive as one would expect, given that McGegan is a lively conductor who in 32 years has made the Philharmonia Baroque Orchestra & Chorale one of the finest such groups in the United States…But Panthaki’s contributions excelled even that, eliciting audible sighs of contentment […]

Gil Rose’s perfect “precision and pacing” with NYCO

Posted on Mar 28, 2018 in Gil Rose, Reviews | No Comments
Gil Rose’s perfect “precision and pacing” with NYCO

Gil Rose conducted the NYCO orchestra, which included the addition of the harpsichord for the Rameau recitatives, with a precision and pacing that was perfect for the music. — Matt Costello, OperaWire Photo: Sarah Shatz

Cooley’s “dramatic intensity” with Boston Baroque

Posted on Mar 4, 2018 in News, Reviews, Thomas Cooley | No Comments
Cooley’s “dramatic intensity” with Boston Baroque

“Thomas Cooley’s light and flexible delivery maintained a generally cool narrative tone, yet was capable of dramatic intensity when it came to describing Christ’s agonized prayer or Peter’s weeping acknowledgement of his triple denial.” — Read more at The Boston Music Intelligencer.

Schade’s “wonderfully mismatched repertoire” at Chamber Music SF

Posted on Feb 25, 2018 in Michael Schade, News, Reviews | No Comments
Schade’s “wonderfully mismatched repertoire” at Chamber Music SF

“The moment opened a brief window onto the kind of meltingly expressive repertoire that once held the stage and delighted countless listeners — and that did so again on this occasion.” — Read more at SF Gate

Dobson “knows how to imbue every note with drama”

Posted on Feb 23, 2018 in Alexander Dobson, Reviews | No Comments
Dobson “knows how to imbue every note with drama”

“Special kudos go to the soloists…British-Canadian baritone Alexander Dobson, who knows how to imbue every note with drama.” — Read more at The Toronto Star. Photo: Tafelmusik and singers perform Alexander’s Feast by Handel on Thursday, Feb. 22 at Koerner Hall. (JOHN TERAUDS)

Halls makes “auspicious” St. Louis Symphony debut

Posted on Feb 20, 2018 in Matthew Halls, Reviews | No Comments
Halls makes “auspicious” St. Louis Symphony debut

“Conducting without a baton (as he did for the entire concert), Mr. Halls summoned those dramatic opening chords with a big, sweeping two-armed gesture and took the Adagio maestoso introduction at a relaxed pace that made the brisk first appearance of that main theme, expertly played by Associate Principal clarinet Diana Haskell, that much more […]

Halls leads with “vigor” in St. Louis Symphony debut

Posted on Feb 18, 2018 in Matthew Halls, Reviews | No Comments
Halls leads with “vigor” in St. Louis Symphony debut

“British conductor Matthew Halls, in his SLSO debut, led with plenty of vigor and no baton…. His account of the Schubert was as well-formed as it was energetic.” — Read more at The St. Louis Post-Dispatch