“Quigley, Seraphic Fire and the New World brought this impressive score to vivid and engaging life…Contemporary music, as much as the sacred polyphony of the past, is in good hands with Quigley.” – Read more at Palm Beach Arts Reporter
“Quigley was clearly in his element…conducting was crisp and idiomatic, yet flexible. He melded voices and instruments to exuberant effect. String playing was absolutely stunning in rhythmic exactitude and cohesion…an efficient, well-prepared reading.” – Read more at South Florida Classical Review.
“Deploying a 21-voice choir, Quigley brought out the warmth and depth of expression in Brahms’ melodic lines…Quigley is masterful at delineating contrapuntal writing. Fugal voicings were clear and spot on, unlike the sometimes murky articulation in performances by larger choirs. The cathartic finale rang out triumphantly, the culmination of a deeply moving performance and one […]
The African-American concert spiritual, the first truly American form of classical art music, rooted right here in the United States, is celebrated in all its glory on this new collection, Steal Away with Patrick Quigley and Seraphic Fire. “This was our first sort of contribution to the greater classical music form and I think that […]
“The ensemble was of ideal Mozartean proportions: Seraphic Fire’s 20-voice choir matched by The Sebastians, a period orchestra of 24. Under Patrick Dupré Quigley’s expert direction, they sang and played with razor-sharp attacks and cutoffs, and rhythmic drive.” – Read more at PalmBeachArtsPaper.com.
Tune in tonight at 7:30pm to watch Seraphic Fire and the Sebastians perform Mozart’s Requiem live at Trinity Wall Street Church in New York. On Trinity’s website, click the “LIVE VIDEO RIGHT NOW” icon to join the webcast.
“Artistic director Patrick Dupré Quigley has cultivated an ensemble personality for the choir that emphasizes both bright clarity (largely in moving lines) and exceptionally pure blooms of brighter resonance (in sustained notes). – Read more at philly.com
“Still, having a crack vocal ensemble suddenly arrive in town, along with an accomplished group of early-music instrumentalists, and offer a vivid, sensitive performance of Handel, Purcell and Charpentier, in a well-suited setting, has a certain frisson.” – Read more at washingtonpost.com
“Orchestral and instrumental balances were finely calibrated by Quigley for this last burst of joyous pomp and circumstance.” – Read more
“This was a Charpentier Te Deum that sounded natural and fluent. Not once did it sound labored or under academic supervision. It ebbed and flowed, clicked and purred like an elegant machine, illuminating its beseeching text with directness and humanity but at the same time sparing no sonic expense to bring out its regal splendor.” […]