“McGegan conducted with his trademark verve and attention to detail, drawing forceful orchestral responses in the triumphant music and gentle, opulent sound in the pastoral scenes.” — Read more at mercurynews.com.
“The orchestra’s dynamic range, as it traveled through Beethoven’s pleasant meadows and thunderstorms, was as broad as the modern orchestra can create, yet still maintained, under Halls’ guidance, a sense of classical precision.” — Read more at Texas Classical Review.
“Matthew Halls led fresh, caringly detailed performances of both works…With just two dozen strings for the Vivaldi, Halls molded a performance at once suavely stylish and vividly illustrative…Let’s hope Halls returns early and often.” — Read more at dallasnews.com. Photo: Michael Ainsworth
“…under Quigley’s direction, the work was technically dazzling in its virtuoso vocal writing, yet human-scaled and emotionally expressive…” — Read more at South Florida Classical Review.
“Handel uses the chorus and orchestra to great descriptive effect in the more dramatic parts of the story – the ten plagues, the parting of the Red Sea – and here McGegan brought out every colourful detail to great effect.” — Read more at bachtrack.com.
“The other essential element, Ben Butterfield as the Evangelist, was confident and his diction excellent. He judged the text perfectly, and was dramatic and dynamic when appropriate.” — Read more at Music in Victoria.
“The involvement of musical director Stephen Stubbs, an early-music specialist who also leads Pacific MusicWorks and is senior artist in residence at the University of Washington, is always a guarantee of both authenticity and great quality. It was Stubbs’ idea to use the 20-minute Monteverdi work as the centerpiece of a show that is preceded […]
“Guest conductor Matthew Halls led the orchestra, the Milwaukee Symphony Chorus, and soprano Sherezade Panthaki, mezzo-soprano Meg Bragle, tenor Lawrence Wiliford and baritone Alexander Dobson in an emotionally charged performance.” — Read more at jsonline.com. Photo: Jonathan Kirn / MSO
“The tenor Thomas Cooley opened with Britten’s setting of Michelangelo’s Sonnet XVI. So here was a tenor, using the extravagantly resonant acoustics of a National Gallery of Art domed courtyard, to pour phrases of molten quicksilver into notes dreamed up by a composer who, as a gift to his lover, had set to music a […]