“Under his baton, the Pasadena Symphony bounded through these works with all the sureness of movement and graceful charm of an Olympic gymnast…Panthaki’s pert and agile voice carved out Handel’s melismatic vocal lines with all the fineness of detail of an etching in silverplate.” — Read more at crescentavalleyweekly.com.
“McGegan presented an enlightening lecture/recital, bringing this fascinating musical period to life via the Yale Voxtet, a group of eight graduate students at the Institute of Sacred Music, and the excellent Philharmonic Baroque Chamber Players, comprising violinists Katherine Kyme and Noah Strick, cellist Phoebe Carrai, and theorbist David Tayler…Most striking was “Salmo Decimottavo Aria” (O immaculate […]
“Panthaki was especially fine, with a surprisingly powerful voice in her upper range, and a fine sense of articulation and phrasing to go with it.” — Read more at The Globe and Mail
The soloist is soprano Sherezade Panthaki, who was a treat the whole evening…just as the choir itself has grown in its ability to sing out a wider ranger of colours and textures, Panthaki demonstrated how bigger, lusher voices can also dance nimbly around the technical requirements of Baroque runs and musical ornaments.” — Read more […]
Sherezade Panthaki’s soprano, as Daphne, was also strong yet delectably sweet…Her opening aria, a celebration of an unfettered soul and an unattached heart, was a thing of special beauty with its accompaniment of pizzicato strings and soaring recorder…” — Read more at nytimes.com.
“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.