“The result was a more intimate account of the Mass, and like Halls’ wonderful version of Claudio Monteverdi’s “Vespers” last year, it was a revelation if not a revolution for the festival…Sherezade Panthaki’s rich soprano excelled” – Read more at registerguard.com.
“Two characters became clear to me in a way they weren’t in 1996: the paradoxical Sorceress, whose hatred of delight delights us, and Belinda, Dido’s confidante. As danced by the motherly Michelle Yard and sung by the richly resonant Sherezade Panthaki, Belinda was the story’s rock, the beneficent spirit who enables not only the evening’s […]
“Mark Morris is extraordinarily musical, there’s no other way to put it,” Panthaki said. Panthaki has appeared in other Mark Morris productions including his recent version of Handel’s Acis and Galatea and his now classic staging of Handel’s L’Allegro, il Penseroso ed il Moderato. “Many of Mark’s works have become part of the standard repertoire […]
“…another miracle was born in the soprano voice of Sherezade Panthaki. I had heard her before in both Bach and Mendelssohn, and have never ever forgotten the purity, the almost unearthly beauty of Ms. Panthaki’s voice. Not only is her vocal line clear, chaste and with consummate perfection, but in the areas of this complex […]
“The delightful dances outnumber the penseroso passages, the greatest of which is the echo-duet of the nightingales (Maile Okamura, Lauren Grant) accompanied by the ravishing voice of Sherezade Panthaki, whose high notes bloom in out-of-this-world radiance.” – Read more at The Bay Area Reporter Online.
“Sherezade Panthaki’s Silvia was marvelous: the full evolution of her character was reflected in singing that moved from light sweetness to exuberant, vigorous sensuality. In her artistry, Panthaki made her Silvia a young woman with neither inhibition nor fear; Panthaki took every possible risk with Haydn’s music and made it all feel like happiness in […]
“There is little doubt, however, that Soprano Sherezade Panthaki had stolen the show, with her acting as well as her singing… Panthaki’s awe-inspiring performance had infused an operetta-class production with opera-class quality, and her arias likewise seemed to elevate the audience [temporarily] above the comic gags, and to supply the narrative with most of its […]
“…the music director of Philharmonia Baroque Orchestra is also exploring less familiar Handel with relish and stylistic insight….The ode is a vocal work which Handel penned for a favourite soprano but it is doubtful whether she was more expressive than Sherezade Panthaki, whose radiant rendering of “What passion cannot music raise and quell!” was nothing […]
“Panthaki’s sincerity was palpable, and her trill superb. In her “soft complaining flute” duet with flawless flautist Stephen Schultz, she may have chosen to leave all softness to the instrument, but her rise to the top of her range was marvelous…If ever a competition were held to demonstrate that classical does not equal stodgy, Philharmonia […]