McGegan’s “breathtaking command”

Posted on May 9, 2018 in Artist News, Nicholas McGegan, Reviews | No Comments
McGegan’s “breathtaking command”

“It was the Rossini that received the evening’s finest performance. With a reduced-in-size ensemble onstage, McGegan elicited playing that was characterized by transparent textures, fleet tempi, bracing rhythms and expertly modulated dynamics to capture the opera’s glittering rendering of the Cinderella fairytale. His command over the legendary “Rossini crescendo” was breathtaking.” — Read more at […]

Williams’ “dark, lustrous voice”

Posted on May 3, 2018 in Douglas Williams, Reviews | No Comments
Williams’ “dark, lustrous voice”

“Among the soloists, bass-baritone Douglas Williams brought a dark, lustrous voice and a sense of mortal desperation to “Lord teach me,” a meditation on the brevity of life.” — Read more at South Florida Classical Review

McGegan’s new album is “a thrillingly colourful performance”

Posted on Apr 28, 2018 in Nicholas McGegan, Recording, Reviews | No Comments
McGegan’s new album is “a thrillingly colourful performance”

“…a thrillingly colourful performance…Nicholas McGegan’s Swedish Chamber Orchestra give the catchy opening tutti just enough strut, and Frank-Gemmill’s acrobatic intro is a winner…” — Read more at The Arts Desk

Gil Rose’s perfect “precision and pacing” with NYCO

Posted on Mar 28, 2018 in Gil Rose, Reviews | No Comments
Gil Rose’s perfect “precision and pacing” with NYCO

Gil Rose conducted the NYCO orchestra, which included the addition of the harpsichord for the Rameau recitatives, with a precision and pacing that was perfect for the music. — Matt Costello, OperaWire Photo: Sarah Shatz

Cooley’s “dramatic intensity” with Boston Baroque

Posted on Mar 4, 2018 in News, Reviews, Thomas Cooley | No Comments
Cooley’s “dramatic intensity” with Boston Baroque

“Thomas Cooley’s light and flexible delivery maintained a generally cool narrative tone, yet was capable of dramatic intensity when it came to describing Christ’s agonized prayer or Peter’s weeping acknowledgement of his triple denial.” — Read more at The Boston Music Intelligencer.

Schade’s “wonderfully mismatched repertoire” at Chamber Music SF

Posted on Feb 25, 2018 in Michael Schade, News, Reviews | No Comments
Schade’s “wonderfully mismatched repertoire” at Chamber Music SF

“The moment opened a brief window onto the kind of meltingly expressive repertoire that once held the stage and delighted countless listeners — and that did so again on this occasion.” — Read more at SF Gate

Dobson “knows how to imbue every note with drama”

Posted on Feb 23, 2018 in Alexander Dobson, Reviews | No Comments
Dobson “knows how to imbue every note with drama”

“Special kudos go to the soloists…British-Canadian baritone Alexander Dobson, who knows how to imbue every note with drama.” — Read more at The Toronto Star. Photo: Tafelmusik and singers perform Alexander’s Feast by Handel on Thursday, Feb. 22 at Koerner Hall. (JOHN TERAUDS)

Halls makes “auspicious” St. Louis Symphony debut

Posted on Feb 20, 2018 in Matthew Halls, Reviews | No Comments
Halls makes “auspicious” St. Louis Symphony debut

“Conducting without a baton (as he did for the entire concert), Mr. Halls summoned those dramatic opening chords with a big, sweeping two-armed gesture and took the Adagio maestoso introduction at a relaxed pace that made the brisk first appearance of that main theme, expertly played by Associate Principal clarinet Diana Haskell, that much more […]

Halls leads with “vigor” in St. Louis Symphony debut

Posted on Feb 18, 2018 in Matthew Halls, Reviews | No Comments
Halls leads with “vigor” in St. Louis Symphony debut

“British conductor Matthew Halls, in his SLSO debut, led with plenty of vigor and no baton…. His account of the Schubert was as well-formed as it was energetic.” — Read more at The St. Louis Post-Dispatch

Quigley’s “engrossing and intense reading” of St. Matthew

Posted on Feb 17, 2018 in News, Patrick Dupre Quigley, Reviews | No Comments
Quigley’s “engrossing and intense reading” of St. Matthew

“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 […]