“Saturday’s performance, which repeats Friday in San Francisco and Saturday in Palo Alto to close Philharmonia’s 38th season, found McGegan and ensemble in top form, powering through the two hour, 50-minute score with brisk, unflagging energy…Robust bass-baritone Daniel Okulitch thundered appropriately, relishing every moments of Saul’s badness, and sopranos Sherezade Panthaki (Michal) and Yulia Van […]
“McGegan’s leadership brought out the score’s color and vibrancy. Not even the peevish Saul himself could have begrudged the performers their success…Soprano Sherezade Panthaki brought her trademark clarity and tonal sensuality to the role of Michal…Yulia Van Doren (Merab) and tenor Aaron Sheehan (Jonathan) acquitted themselves handsomel” -Read more at SF Datebook.
“Most impressive was tenor Thomas Cooley’s Evangelist, delivering secco recitatives with alert vibrancy and lyrical arias with ringing tone and dramatic urgency. He was riveting in the tortuous aria “Ich will nur dir zu Ehren leben”…Yulia Van Doren’s warm, focused soprano was used to charming effect in the “Echo aria” (“Flosst, mein Heiland, flosst dein […]
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 […]
“Dinur, the orchestra, the Milwaukee Symphony Chorus, and sopranos Sherezade Panthaki and Yulia Van Doren, countertenor Daniel Taylor, tenor Dominic Armstrong and baritone Alexander Dobson captured the individual character of each of the brief movements, knitting them into a compelling musical whole. The vocal soloists gave musically rich, soaring performances of their solo movements…” — […]
“Van Doren created a mesmerizing blend of expressive delicacy and commanding singing. She created a fragile, pleading sound in spots, moving to a soaring, ringing sound elsewhere. She executed simple lines and large leaps with equal ease, using a decrescendo on several upward leaps to create breathtaking musical moments.” — Read more at jsonline.com.
“Yulia Van Doren, was perhaps the strongest of them all, especially her unique vocal ornamentation that fluttered through the work like a tropical songbird…McGegan has become a serious and convincing voice for the baroque approach to Messiah…In a sentence, this year’s TSO Messiah was about the collective soloists, orchestra, choir, and one conductor, McGegan, with […]
“In a vigorous and absorbing performance of this 1747 work by Philharmonia Baroque, the musical special effects kept coming Friday, December 2, at the First United Methodist Church in Palo Alto.” — Read more at San Francisco Classical Voice.
“…under McGegan’s inspired direction, the performance emerged as one of the period instrument ensemble’s finest offerings in recent memory…for sheer Baroque splendor, the evening’s standout was Yulia Van Doren…Tenor Thomas Cooley was an ideal Joshua — firm-voiced, secure throughout his range, and precise in the demands of Handel’s vocal writing.” — Read more at The […]
“On Thursday at Strathmore, Nicholas McGegan led the Baltimore Symphony Orchestra in a performance that was, like the work, both hybrid and personal, with a sense of the homemade, the intimate, the human, and the transcendent, particularly in the inspired playing of the reduced but ardent orchestra.” – Read more at washingtonpost.com.