“Of course, the opening funereal measures of the Requiem had a sobering effect, but even here, Mozart did not neglect the element of theatricality. Dashon Burton’s thundering basso in “Tuba mirum” was a stunner, followed by Butterfield’s clarion tenor, Atkinson’s silky mezzo, and Colton’s sweet and airy soprano — in fact an entire progression of […]
“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.
“Among the supporting roles, the most striking impression was made by bass-baritone Douglas Williams as Neptune. I can’t think of another Idomeneo production that manages to turn Neptune into a starring role, given he has only two minutes of music in the three-hour opera. Williams proved that he’s as godly in appearance – barechested and […]
“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 […]
“Benjamin Butterfield, perfectly cast for the lyric tenor part, offered memorable performances of If With All Your Hearts and Then Shall the Righteous Shine Forth, both arias tenor favourites the world over. Always a musical and intelligent singer, he is, understandably a favourite with Calgarians.” -Read more at Calgary Herald.
“…the chemistry between conductor and ensemble truly brought the stage to life…Halls undeniably has a special ability to unite the ensemble…Halls’s historical performance sensibilities combined with the distinct sonorities of a period orchestra unveiled subtle colorings often hidden in modern orchestral renditions.” -Read more at The Harvard Crimson. Photo: Courtesy of Sam Brewer
“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.
“The Pärt portion of the evening began with the orchestral Summa, an ideal invitation to this soulful artist’s universe of meditative calm. The gradual ebb and flow of a single oscillating string figure took on the gravitational pull of an ocean tide in McGegan’s sensitive, demurely lush reading.” -Read more at sfvc.org.