Quigley makes SFCR’s “Top Ten Performances of 2018”
“1. Seraphic Fire and Patrick Quigley: Arvo Pärt’s Passio Patrick Dupré Quigley presented scrupulous, intensely moving performances of three unique scores in Seraphic Fire’s “Parables of Passion” series. Following David Lang’s luminous little match girl passion and a rare performance of Bach’s original version of the St. Matthew Passion, the best was saved for last. […]
Quigley’s “Innovative” performance of ‘Messiah’ with NJ Symphony
“There are as many interpretations of Messiah as there are conductors, and Quigley brought a unique approach to the work on Friday night. One of the most unusual musical effects was Quigley’s re-assignment of traditional choral sections to vocal soloists, and vice versa.” – Read more at towntopics.com
SF Chronicle’s Year in review
“The ebullient British conductor’s decision to step down in 2020 after 35 years as music director of the Philharmonia Baroque Orchestra marks the end of a chapter that encompasses nearly the entire history of the organization. The vitality and stylistic savvy of McGegan’s leadership – a constellation of interpretive qualities that have imprinted themselves on […]
Patrick Quigley conducts: “Philharmonia Baroque Lights Up Winter”
“Quigley has some similar qualities to Nicholas McGegan on the podium. He’s given to a few, broad, communicative gestures, leaning in to some phrases to elicit more oomph from the orchestra. He’s also a good advocate of Baroque music for an audience.” – Read more at sfcv.org
Mueller’s “memorable” performance with Johnstown Symphony
“Four accomplished soloists performing Saturday were soprano Kathryn Muller, mezzo soprano Mikki Sodergren, tenor Oliver Mercer and baritone John Brancy. Mueller appeared with the JSO in its performance of Beethoven’s 9th Symphony. She was particularly memorable in the air “I know my Redeemer liveth,” a haunting passage with close support of solo violin, harpsichord, a […]
Jurenas’ “riveting and versatile interpretations”
“Countertenor Eric Jurenas gave riveting and versatile interpretations throughout in his Boston debut. From his first recitative at “Behold, a virgin shall conceive,” to his last “O death, where is thy sting,” his clarion voice and sensitive phrasing stood out and buoyed the dramatic texts.” – Read more at The Boston Musical Intelligencer.
Quigley’s “infectious momentum” with Philharmonia Baroque Orchestra
“Quigley gave the work an infectious momentum, and the three vocal soloists – soprano Margot Rood, tenor Steven Soph and bass Steven Eddy – wove their overlapping vocal lines dexterously.” – Read more at SF Chronicle Datebook
“A moving Messiah” – Halls and Berger with STLSO
“…the communication between Halls and his forces never flagged. “Messiah” is a long work, but this performance never dragged…Berger, making his SLSO debut, was a particular standout. His is a rich, well-produced voice, and he sings with feeling and understanding.” – Read more at St. Louis Post Dispatch
Interview: McGegan on Messiah
The New Zealand Symphony Orchestra is performing Handel’s Messiah over the weekend – in Wellington on Saturday and Palmerston North on Sunday. Listen to the interview with Nic here.
Cooley and Van Doren perform Bach’s “Christmas Oratorio” with MOB
“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 […]
