Posted on Dec 10, 2019 in Artist News, Jory Vinikour, Reviews | No Comments

“Ricci’s direction, operating on a bare stage against a backdrop of fetching visual projections, captured this quicksilvery dramatic vein perfectly. So did music director Jory Vinikour, leading a small complement of string instruments from the harpsichord and giving the whole performance a welcome sense of spontaneity and security.”

Read more at SF CHRONICLE

“Conductor Jory Vinikour presided from a harpsichord over a six-member onstage band. The orchestral work was sensitive and responsive. In ODC’s close quarters the musicians were bound to get into the act. Clorindo’s mad scenes involved some harassing of the players. Vinikour and his crew got their own licks in at one point, interrupting Freschi’s score with a quote from Handel. That small musical joke landed better than some of the other antics.”


“Like Ricci’s direction, the musical guidance of conductor and harpsichordist Jory Vinikour divulged obvious cognizance of and respect for singers and singing, as well as an innate affinity for Freschi’s style. Ritornelli did not merely preface individual numbers or accompany characters’ entrances and exits: under Vinikour’s supervision, these interludes intensified the emotions of the scenes they punctuated.There are few places in the United States in which the joke of inserting a few bars of Cleopatra’s ‘Piangerò la sorte mia’ and Almirena’s ‘Lascia ch’io pianga’ from Händel’s Giulio Cesare and Rinaldo into the scene in which music is proposed as an effective treatment for amorous maladies could be expected to be appreciated, but the hilarity of this anachronism was not wasted on Ars Minerva’s audience. [So eloquent was the musicians’ playing of these fragments that Freschi would surely have forgiven Rosaura for succumbing to the temptation to sing the arias.] Vinikour collaborated with his orchestral colleagues with the camaraderie of a chamber musician, but his stewardship of the drama was the handiwork of a talented conductor not merely of specialized repertoire but of any music that he chooses to study. That this performance of Ermelinda was fastidiously prepared was palpable, but the energy and exuberance of the music making engendered an atmosphere of edge-of-the-seat spontaneity.”

Read more at VOIX DES ARTS

“Although Jory Vinikour’s instrumental ensemble contained only six players, it was focused and powerful. Violinists Cynthia Black and Laura Rubenstein-Salzedo, along with violist Aaron Westman and cellist Gretchen Claassen provided a lyrical pillow for the voices to ride on. The exquisite playing of theorbo player Adam Cockerham along with the fine musicianship of Vinikour who conducted from the harpsichord added to the lilting rhythms, graceful style, and Baroque intensity of the performance.”


“The program booklet does not credit an edition of Sig. Freschi’s little opera, thus we may assume that early music harpsichordist and conductor Jory Vinikour organized the production musically based on a manuscript found at Venice’s Marciana Library. It is lively music that flows in very natural speech rhythms enhanced with very inventive melodic riffs that tease and amuse us and become upon occasion quite specific songs. These players were a confident lot that gave us great delight in their ritornellos. The three instrument continuo cleverly supported the excellent performances center stage.”

Read more at OPERA TODAY

“Freschi’s music is filled with striking melodies, and the many musical pleasures of this score were showcased by the fluent playing of the musicians under the leadership of harpsichordist Jory Vinikour.”


“Conductor/harpsichordist Jory Vinikour is a pretty big deal on the global Early Music scene”