“The Philharmonia Baroque Orchestra’s string-playing is routinely urbane, and the continuo group’s realisa-tions are impeccably shaded…Diana Moore is expressive with words and musical details in Spring’s splendid arias…part 2 has a theatrical impact thanks to Douglas Williams’s resonance and mastery across a wide-ranging tessitura. This is a delightfully enjoyable revelation of the elder Scarlatti’s genius.” […]
“Mezzo-soprano Diana Moore made a gracious Spring, her vibrato taut and phrasing lithe…Bass-baritone Douglas Williams provided a comically pompous and jaunty Jove. Meanwhile, McGegan and the Philharmonia Baroque supported in glowing hues and lyrical lines, the rhythm driven from the bottom of the orchestra (as in a good jazz band) and the violins gamboling ebulliently.” […]
“The Zankel performance featured the same fine vocal soloists heard on the recording: Diana Moore as Spring, Suzana Ograjensek as Summer, Clint van der Linde as Autumn, Nicholas Phan as Winter and Douglas Williams as Jove.” – Read more at nytimes.com.
“The bass-baritone Douglas Williams gave an inspired performance of his long solo in the Qui tollis. He sang long, smooth, legato phrases, with a touch of graininess at the bottom that enhanced the power of his performance.” – Read more at South Florida Classical Review
“Music Director Nicholas McGegan assembled a world-class band of instrumentalists and vocalists for the October 4, 2015 North American premiere, which was recorded in Berkeley’s First Congregational Church…Turn off the lights, put on this recording, and revel in bliss.” – Read more at sfcv.org.
“McGegan selected this music for the first concert of the 2015–2016 Philharmonia Baroque season. This was a particularly auspicious occasion. Not only did it mark the beginning of the ensemble’s 35th season, but also it celebrated McGegan’s 30th season as Music Director. In San Francisco the beginning of the season also celebrated the return of […]
“Mark Morris is extraordinarily musical, there’s no other way to put it,” Panthaki said. Panthaki has appeared in other Mark Morris productions including his recent version of Handel’s Acis and Galatea and his now classic staging of Handel’s L’Allegro, il Penseroso ed il Moderato. “Many of Mark’s works have become part of the standard repertoire […]
“…Stephen Stubbs presided over a fluid, elegant performance from the onstage orchestra…Douglas Williams’s characterization of Pope-as-Polyphemus’s tortured despair was more broad, vocally and physically, than before, but his bass still rolled forth, sepulchrally precise.” – Read more at bostonglobe.com
“By allowing the music to speak for itself, avoiding coy or flippant attempts to update the action, the Boston Early Music Ensemble brought us an elegant rendition of one of Handel’s best-loved works.” – Read more at classical-scene.com
“Spring, sung by the fine, dusky-voiced mezzo soprano Diana Moore, holds bragging rights in the end, when an amusingly self-important Jove (baritone Douglas Williams) deems her triumphant over her seasonal rivals.” – Read more