“While these forces were perhaps smaller than might have pertained in San Marco, they nevertheless created a wonderfully satisfying concert for a large audience on a very wet night. Stubbs chose some works for the entire group of singers, often antiphonally, with either high voices juxtaposed with low ones or a solo voice followed by […]
“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 […]
“Stubbs led a historically informed rendition, devoid of the bloated and vibrato-enhanced practices of the past. Phrasing, dynamics, and musical nuances were clearly crafted…Stubbs led a reduced-size Houston Symphony ensemble, which played cleanly and alertly, adroitly adjusting their speed and volume as directed…Thomas Cooley showed a strong voice that was most expressive in four consecutive […]
“Stephen Stubbs masterfully conducted the Omaha Symphony and provided a rounded lushness to the production. The spare baroque orchestra set a delicate pace and allowed the singers to shine by enabling them to sustain emotional tensions. Stubbs also played the harpsichord, an instrument that while of a different time period, adds an otherworldly authenticity to […]
“A rare performance of the Concerto for Lute and Viola d’amore, RV 540, showcased Stubbs and Cunningham and the timbres of their instruments which we don’t often hear in solo mode. The six-stringed viola d’amore has a sound both very soft and pure, a good match of the equally soft lute, while the orchestra only […]
“Stephen Stubbs, who was credited with Winokur as having “arranged and adapted” the piece for this performance, conducted the musicians of Juilliard415 in an aptly supple, sexy performance; the heavenly contours of “Lucidissima face,” Endimione’s song to the moon, were shaped with unerring style and surety and the last ensemble of the second act was […]
“However, the singers couldn’t have done their jobs so well without the brilliant musical ensemble, led by Stubbs from the harpsichord, providing a rich, gorgeous musical line that was intrinsic to the dramedy at hand.” – Read more at broadwayworld.com.
“Stubbs often used the concerto grosso approach, that is, a small group of solo instruments alternating with the whole. Thus a good deal of the solo work was accompanied by only a string quartet with harpsichord and organ, and this gave a chance for the soloists to bring in a range of subtlety not really […]