“It’s all perhaps closer to opera than to oratorio, and this premiere, with the OAE’s finely detailed playing shaped by Nicholas McGegan, was economically and unfussily staged by Peter Thomson.” — Read more at The Guardian.
“…a triumph of stamina and execution…the orchestra as a whole played with far more confidence and conviction than you’d expect for a one-off performance of a rare and challenging score. At the end of the night, the crowd’s ovation was robust, appreciative — and well-deserved.” — Read more at The Boston Globe.
“Williams displayed a heroic bass-baritone and brought an imposing presence to his selections. He put across a powerfully dramatic account of Schumann’s “Belsazar,” winnowing down to a strikingly hushed coda. He also lightened his voice and style artfully in two comic, wryly witty excerpts from Heggie’s Songs of the Moon, set to Vachel Lindsay texts.” […]
“Particularly impressive was Quigleyʼs command of such a large choral group, showing fingertip control of the dynamics and maintaining a vibrant, passionate quality in the singing through even the gentlest passages…Itʼs rare for a visiting conductor to show the level of technical mastery Quigley achieved in limited rehearsal time. The sound was transparent and expertly […]
It’s as reliable as a sunrise: a Nicholas McGegan appearance at the Hollywood Bowl in August. The conductor was at his perennial Bowl gig again Thursday night, and as usual McGegan’s agenda was locked into the 18th century — all Vivaldi this time…a later solo showcase allowed Panthaki to display her full, luxuriously toned upper […]
“The two most notable operatic events of the spring in San Francisco had nothing to do with the San Francisco Opera and both represented a major collaboration between music and dance. In Berkeley’s Zellerbach Hall (April 28), Philharmonia Baroque Orchestra, the Centre de Musique Baroque de Versailles and Cal Performances collaborated on the first modern […]
“Mezzo-soprano Paula Murrihy, in her house debut, was superb as Ruggiero. She brought the total package to the part both vocally and dramatically: beautiful timbre, gorgeous phrasing, sophisticated singing technique, sensitivity to what we understand of Baroque style.” — Read more at The Santa Fe New Mexican.