“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…” — […]
“Van Doren created a mesmerizing blend of expressive delicacy and commanding singing. She created a fragile, pleading sound in spots, moving to a soaring, ringing sound elsewhere. She executed simple lines and large leaps with equal ease, using a decrescendo on several upward leaps to create breathtaking musical moments.” — Read more at jsonline.com.
“Yulia Van Doren, was perhaps the strongest of them all, especially her unique vocal ornamentation that fluttered through the work like a tropical songbird…McGegan has become a serious and convincing voice for the baroque approach to Messiah…In a sentence, this year’s TSO Messiah was about the collective soloists, orchestra, choir, and one conductor, McGegan, with […]
“In a vigorous and absorbing performance of this 1747 work by Philharmonia Baroque, the musical special effects kept coming Friday, December 2, at the First United Methodist Church in Palo Alto.” — Read more at San Francisco Classical Voice.
“…under McGegan’s inspired direction, the performance emerged as one of the period instrument ensemble’s finest offerings in recent memory…for sheer Baroque splendor, the evening’s standout was Yulia Van Doren…Tenor Thomas Cooley was an ideal Joshua — firm-voiced, secure throughout his range, and precise in the demands of Handel’s vocal writing.” — Read more at The […]
“On Thursday at Strathmore, Nicholas McGegan led the Baltimore Symphony Orchestra in a performance that was, like the work, both hybrid and personal, with a sense of the homemade, the intimate, the human, and the transcendent, particularly in the inspired playing of the reduced but ardent orchestra.” – Read more at washingtonpost.com.
“The vocal soloists all were quite fine, especially tenors Thomas Cooley, Patrick Muhleise and Colin Ainsworth, and sopranos Yulia Van Doren and Agnes Zsigovics. Cooley, Music of the Baroque’s artist-in-residence this season, sang with deep expressivity in the solo motet “Nigra sum” and in the “echo” exchanges with another singer stationed in the rear choir […]
“…I encountered a final “Amen” so hypnotic and absorbing, the fugues full of drama. They sealed the impression that not only is Halls an engagingly graceful conductor to watch, but he’s an imaginative interpreter who can offer fresh insight into a work that you may have thought you knew well” – Read more at twincities.com.
‘Soprano Yulia van Doren exuded personality and sang with beguiling clarity and charm. Her bright red dress and gauzy white wrap added to her stage presence, but her fine narrative style in the shepherd recitatives and crisp melismas in “Rejoice greatly” also made her a standout.” – Read more at clevelandclassical.com
“Thomas Cooley brought a vibrant and forceful tenor to Judas…Cooley was consistently strong of voice and alive to the text—ardent and elegant in “No unhallow’d desire” and delivering a clarion “Sound an alarm!” Bragle brought a natural ease and nobility to her arias and Van Doren conveyed her solos with a fresh, graceful quality. Van […]