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 […]

Rose and NYCO honor Argento at 90

Posted on Nov 10, 2017 in Gil Rose, Reviews | No Comments
Rose and NYCO honor Argento at 90

“Under Rose’s direction, the NYCO orchestra played with polish and style, producing an impressive volume of sound for such a small band.” — Read more at New York Classical Review.

Schwalbe artists give “rich, soaring performances” in Milwaukee

Schwalbe artists give “rich, soaring performances” in Milwaukee

“Dinur, the orchestra, the Milwaukee Symphony Chorus, and sopranos Sherezade Panthaki and Yulia Van Doren, countertenor Daniel Taylor, tenor Dominic Armstrong and baritone Alexander Dobson captured the individual character of each of the brief movements, knitting them into a compelling musical whole. The vocal soloists gave musically rich, soaring performances of their solo movements…” — […]

Williams’ “velvety bass-baritone”

Posted on Nov 4, 2017 in Douglas Williams, Reviews | No Comments
Williams’ “velvety bass-baritone”

“His velvety bass-baritone is both as muscular and lithe as Williams is physically and he acts not just with his face but his whole body… Williams’s charisma draws us to him as an enthusiastic lover of life…” — Read more at stage-door.com.

Rose’s performance of “authority and excitement” with Odyssey Opera

Posted on Oct 30, 2017 in Gil Rose, Reviews | No Comments
Rose’s performance of “authority and excitement” with Odyssey Opera

“Gil Rose conducted a performance that increased in authority and excitement as it progressed. He certainly understands the nuance of bel canto, and he knows how to support the voices. I am also glad that he knows this beautiful opera and has brought it to the people of Boston.” — Read more at The Donizetti […]

Cummings and RNS show Haydn’s genius

Posted on Oct 30, 2017 in Laurence Cummings, Reviews | No Comments
Cummings and RNS show Haydn’s genius

“Conductor Laurence Cummings kept order effectively with occasional – and audible – leaps and histrionic gestures. Soloists Mary Bevan (soprano), Anthony Gregory (tenor) and Henry Waddington (Bass) were resplendent in the sustained and demanding arias and recitatives with which Haydn showed the way for all composers after him.” — Read more at The Huddersfield Daily […]

Rose’s “accustomed clarity and assurance” leads Donizetti

Posted on Oct 27, 2017 in Gil Rose, Reviews | No Comments
Rose’s “accustomed clarity and assurance” leads Donizetti

“In Odyssey Opera’s Thursday performance of Domenico Gaetano Donizetti’s rarely mounted L’assedio di Calais (The Siege of Calais), Gil Rose led the assorted forces with his accustomed clarity and assurance. Strong on all fronts that matter, from set design, stage direction, costumes, singers, and orchestra, the show delighted from beginning to end. Anyone with a […]