“Quigley blended the orchestral and choral forces skillfully. His moderate tempo in the great opening chorus allowed the music to work its deeply moving spell…The many reflective chorales that provide commentary on the story benefited from Quigley’s supple play of dynamics and natural pacing….shaped with unhurried breadth by Quigley and displaying the entire ensemble’s beautifully […]
“Meticulous performance paired with thoughtful, narrative programming to lend a sense of theatre – spellbinding, immersive” — Read more at Schmopera.
“To open Seraphic Fire’s 16th season, artistic director Patrick Quigley presented a Monteverdi rarity–highlights from the Selva Morale et Spirituale—Wednesday night at St. Sophia Greek Orthodox Cathedral in Miami. A series of sacred works published in 1640 and 1641 and written for the Basilica of San Marco in Venice , these scores represent Monteverdi at […]
“Particularly impressive was Quigleyʼs command of such a large choral group, showing fingertip control of the dynamics and maintaining a vibrant, passionate quality in the singing through even the gentlest passages…Itʼs rare for a visiting conductor to show the level of technical mastery Quigley achieved in limited rehearsal time. The sound was transparent and expertly […]
“…under Quigley’s direction, the work was technically dazzling in its virtuoso vocal writing, yet human-scaled and emotionally expressive…” — Read more at South Florida Classical Review.
“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 […]
“Bach’s music often brings out the best in Quigley. These performances have the extra stamp of authority and passion that occurs when conductor and repertoire are perfectly matched…Quigley brought lightness and clipped twists of phrasing to the pulsating rhythms of the opening section. The instrumental contingent was beautifully integrated into the vocal fabric.” — Read […]
“Just as Bach’s music is eternal, so could one have listened for ages. The two ensembles hung together seamlessly, producing Bach of the most shapely and effervescent variety. Welser-Most kept the orchestra, including three brilliant trumpets, in perfect balance with the singers, and Seraphic Fire lived up its reputation as a taut, mellifluous force.” — […]