McGegan to lead Yale Voxtet in Scarlatti’s “Il Primo Omicidio”

Posted on Nov 16, 2018 in News, Nicholas McGegan | No Comments
McGegan to lead Yale Voxtet in Scarlatti’s “Il Primo Omicidio”

“At 7:30 p.m. on Saturday Nov. 17 in Sprague Memorial Hall, Yale Voxtet will perform 18th century composer Alessandro Scarlatti’s interpretation of the Cain and Abel story — his oratorio “Il Primo Omicidio.” Guest conductor Nicholas McGegan, the music director of Philharmonia Baroque Orchestra & Chorale, will lead Saturday’s performance…’I think one of the strengths […]

Juilliard Journal: Paul Agnew makes his debut

Posted on Nov 13, 2018 in Paul Agnew, Reviews | No Comments
Juilliard Journal: Paul Agnew makes his debut

This fall, Juilliard415 and Juilliard singers are presenting two programs of cantatas that explore the results of this sojurn. Collectively called Handel in Rome, the concerts are Aminta e Fillide at the Morgan Library and Museum (November 19) and Clori, Tirsi e Fileno at Alice Tully Hall (December 1). Both evenings also celebrate the two […]

Berger’s…”commanding, implacable presence”

Posted on Nov 4, 2018 in Reviews, William Berger | No Comments
Berger’s…”commanding, implacable presence”

“Berger’s Pilate was a commanding, implacable presence, and he sang the bass arias with resonant authority.” – Read more at startribune.com.

Berger’s “velvet touch” with SPCO

Posted on Nov 3, 2018 in Reviews, William Berger | No Comments
Berger’s “velvet touch” with SPCO

“William Berger was a standout as a Pilate at first smug but increasingly compassionate and finally flummoxed by a mob’s virulence. Not only that, but he could quickly cast off his character to lend a velvet touch to one of the arias that asked listeners to reflect upon the story’s lessons.” – Read more at […]

Taylor “sends the music heavenwards”

Posted on Oct 29, 2018 in Daniel Taylor, Reviews | No Comments
Taylor “sends the music heavenwards”

“The University of Toronto’s Schola Cantorum joined by members of the Choir of the Theatre of Early Music, all under the direction of Daniel Taylor, send the music heavenwards, Ainsworth’s bright, coloratura in the lead. The effect is utterly mesmerizing.” — Read more at Opera Going Toronto.

McGegan, Williams, and Van Doren shine with STLSO

McGegan, Williams, and Van Doren shine with STLSO

On Saturday night at Powell Symphony Hall, the St. Louis Symphony Chorus and Orchestra gave a superb performance of “The Creation,” with a trio of fine soloists, a well-trained chorus, and the orchestra nailing its part, all under the inspired direction of Nicholas McGegan…American bass-baritone Douglas Williams’ angel Raphael set the tone; his big, dark […]

“Murrihy thrills with her voice” in Bluebeard’s Castle

Posted on Oct 15, 2018 in Paula Murrihy, Reviews | No Comments
“Murrihy thrills with her voice” in Bluebeard’s Castle

“From the softest whisper to her high C at the opening of the castle’s fifth door, and in Bartók’s deliberate mismatch between Judith’s initial optimism and the dark oppression of the orchestra, Murrihy thrills with her voice while fully inhabiting her symbolic assignment with her presence.” — Read more at The Irish Times.

Murrihy “is a marvel to behold”

Posted on Oct 13, 2018 in Paula Murrihy, Reviews | No Comments
Murrihy “is a marvel to behold”

Murrihy as Judith is a marvel to behold, giving an impassioned and physically-committed performance, her voice rich and expressive, full of colour. — Read more at goldenplec.com.

…”thrilling surprises” from Sherezade Panthaki

Posted on Oct 12, 2018 in Reviews, Sherezade Panthaki | No Comments
…”thrilling surprises” from Sherezade Panthaki

“Soloists added to the work’s thrilling surprises: Soprano Sherezade Panthaki, warm in her lower register before hitting the stratosphere…” — Read more at Orlando Sentinel.

Date Book: Philharmonia Chorale takes the spotlight in an all-Mozart season opener

Posted on Oct 6, 2018 in Nicholas McGegan, Reviews | No Comments
Date Book: Philharmonia Chorale takes the spotlight in an all-Mozart season opener

“McGegan led his forces with a combination of fleet phrasing — his longtime interpretive stock-in-trade — and a certain respectful calm that seemed entirely appropriate to the repertoire.” — Read more at datebook.sfchronicle.com