“Under McGegan’s baton, the orchestra achieved full parity with the soloist, a challenge given baroque period performance priorities…The Schubert symphony sparkled with post-Beethovenian ingenuity of the first rank.” – Read more at The Santa Barbara Independent .
“The always dependable baritone Alexander Dobson made an excellent King Karl, authoritative both in voice and in stage presence. Schubert’s frequent requirements for Karl to sing in his lowermost range posed no difficulty for him. In fact, he seemed to relish sounding such Sarastro-like depths.” – Read more at Stage Door
“… Luca Francesconi’s opera…featured bravura performances by Heather Buck and Hadleigh Adams and was the thrilling highlight of the company’s summer season… German-Canadian tenor Schade… gave a lustrous performance featuring Romantic works made famous in the 1920s by Irish tenor John McCormack and violinist Fritz Kreisler… …an outstanding team of vocal soloists – soprano Camille […]
Opera News has named Gil Rose’s recording of Del Tredici’s Child Alice with Boston Modern Orchestra Project among its “Best of 2018” selections. “A grand symphonic behemoth. This first complete recording revels in the orgiastic overabundance of the Mahlerian sonorities.” – Joe Cadogan – Read more in the January 2019 issue of Opera News.
From 6 Reasons to go see the MSO Perform Handel’s ‘Messiah’ 2) All four solo vocalists deliver stunning performances. Soprano Ellie Dehn, mezzo-soprano Andrea Hill, tenor Marc Molomot and baritone Hadleigh Adams are absolutely radiant in their solo performances, bringing technical agility and depth to Handel’s score. It’s a real treat to see vocalists of […]
“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. […]
“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
“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