“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 […]
“For imaginative choice of repertoire married to sterling performances, this has got to be one of the outstanding discs of 2019. “ Read more at Classics Today
“Molomot was an Arnalta who upheld Seventeenth-Century conventions but set a standard of his own in the rôle…Arnalta’s lullaby for Poppea, ‘Oblivion soave,’ is one of the most exquisite pieces in Seventeenth-Century opera, and Molomot sang it with piercing expressivity that so entranced the audience that merely breathing seemed to disturb the scene’s serenity…Cuing singers […]
“The orchestra, with Vinikour conducting from a harpsichord and flanked by a quartet of period string instruments and two theorbos, gave a wonderfully refined, articulate performance of Monteverdi’s score…Marc Molomot (Arnalta) was a complete comic delight.” -Read more at the Milwaukee Journal-Sentinel.
Mainly behind the success was the grace of the music itself under visiting conductor Jory Vinikour. His fingers flew precise instructions simultaneously to baroque instruments and singers alike. And the sense of repetition built into baroque vocal passages was nicely varied and reconstructed. — Read more at Urban Milwaukee.
“At the end of each concerto, the audience applauded; at the end of the complete work, the audience roared…He’s a superb technician with an idiomatic, committed approach to the music.” — Read more at The St. Louis Post Dispatch.
“Purcell’s champion and savior in this production was internationally acclaimed harpsichordist and conductor Jory Vinikour. Leading the period-instrument orchestra of Chicago’s Haymarket Opera, Vinikour labored mightily to enthrone this Fairy Queen in a musical realm that Purcell would recognize and endorse. The Haymarket musicians collaborated with Vinikour in the creation of a sound world in […]
“The Fairy Queen is brilliantly conducted by Jory Vinikour and the music of the Restoration is enchantingly performed by the Haymarket Opera Orchestra. Immediately at the overture, I knew this production would be a pleasure to hear with much of it played on instruments of that age.” — Read more at Picture This Post.
“What authenticity there is in this updating comes from the stylish sounds Jory Vinikour elicits from the 17 period instrument players of Chicago’s Haymarket Opera Orchestra. Conducting from the harpsichord, he sharpens rhythms deftly, supports vocal lines securely and refines textures sensitively. He has a considerable amount to do and does it all expertly.” — […]
“Vinikour elicited dramatic dynamic range from both the instrumentalists and the singers. The continuo (Vinikour on harpsichord, Paul Hale on cello, and Richard Savino on theorbo) was especially solid, with sparkling sound and spot-on timing.” — Read more at San Francisco Classical Voice