Moore’s “utterly lovely” Jezebel at Barbican

Posted on Feb 13, 2018 in Diana Moore, News, Reviews | No Comments
Moore’s “utterly lovely” Jezebel at Barbican

“Diana Moore’s mezzo voice is full-bodied and resonant, and her accounts of Jezebel were full of nuanced scorn, but her O Rest in the Lord was rich and warm and utterly lovely.” — Read more at Music OMH.

McGegan and PBO offer “musical discoveries and delights”

Posted on Feb 12, 2018 in Nicholas McGegan | No Comments
McGegan and PBO offer “musical discoveries and delights”

“Haydn was the headliner for their February 7–11 “Harmonic Convergence” series of concerts, and the Philharmonia Baroque Orchestra made sure he lived up to the billing. In giving their all to two substantial works — the Cello Concerto No. 2, with an intense Steven Isserlis as soloist, and the (mostly) absorbing Symphony No.43 (“Mercury”) — […]

McGegan and PBO will bring Handel to Caramoor

McGegan and PBO will bring Handel to Caramoor

“This summer Caramoor will present operas from earlier periods. A concert performances of Handel’s “Atalanta” will feature Nicholas McGegan conducting the Philharmonia Baroque Orchestra of San Francisco.” — Read more at The New York Times. Photo: Gregg Vigliotti for The New York Times

“The grace of the music” under Jory Vinikour

Posted on Jan 29, 2018 in Artist News, Jory Vinikour, News, Reviews | No Comments
“The grace of the music” under Jory Vinikour

Mainly behind the success was the grace of the music itself under visiting conductor Jory Vinikour. His fingers flew precise instructions simultaneously to baroque instruments and singers alike. And the sense of repetition built into baroque vocal passages was nicely varied and reconstructed. — Read more at Urban Milwaukee.

Molomot’s “Wozzeck” with the Houston Symphony wins a Grammy

Molomot’s “Wozzeck” with the Houston Symphony wins a Grammy

“Late last year the Houston Symphony earned its first ever Grammy Award nomination for best opera recording with “Berg: Wozzeck.” Surprising almost everyone involved, the recording won the Grammy Sunday evening in New York….The Grammy was preceded by another huge honor for the symphony; it received the prestigious ECHO Klassik award last fall in Germany.” […]

Dobson “superb” with Cleveland Orchestra

Posted on Jan 23, 2018 in Alexander Dobson, Reviews | No Comments
Dobson “superb” with Cleveland Orchestra

“Dobson’s German declamation was superb, and his singing assured — especially without benefit of an orchestral rehearsal.” — Read more at Cleveland Classical

Quigley and Seraphic Fire are “spellbinding, immersive”

Posted on Jan 22, 2018 in Patrick Dupre Quigley, Reviews | No Comments
Quigley and Seraphic Fire are “spellbinding, immersive”

“Meticulous performance paired with thoughtful, narrative programming to lend a sense of theatre – spellbinding, immersive” — Read more at Schmopera.

Schade “in his natural element” with Calgary Philharmonic

Posted on Jan 20, 2018 in Michael Schade, Reviews | No Comments
Schade “in his natural element” with Calgary Philharmonic

“It was a treat to have Canada’s European-based Michael Schade in the tenor role. Overall, the tenor has the most to sing and also has the most expressive music. Vocally, Schade was in his natural element here, his focused tenor voice and thorough understanding of German oratorio style evident at every turn. The final duet […]

Gil Rose leads the Beyond Festival Orchestra in Pittsburgh

Posted on Jan 12, 2018 in Gil Rose, Reviews | No Comments
Gil Rose leads the Beyond Festival Orchestra in Pittsburgh

“Mr. Rose led the orchestra through the aggressive opening gestures with ferocity, juxtaposing the more lyrical wind solos and microtonal melodic fragments with an ear for contrast.” — Read more at Pittsburgh Post-Gazette.

Panthaki is “sensational” and Moore “shimmering” in PBO’s Joseph with Mcgegan

Panthaki is “sensational” and Moore “shimmering” in PBO’s Joseph with Mcgegan

“Panthaki was absolutely sensational, singing with sumptuous tone, extraordinarily flexible and apparently effortless coloratura, and impeccable diction…the role of Joseph was elegantly sung by mezzo-soprano Diana Moore, whose burnished low notes resounded darkly while her shimmering high notes shone brightly…conductor Nicholas McGegan led his period-instrument orchestra in a rhythmically pulsating score.” — Read more at […]