“From the softest whisper to her high C at the opening of the castle’s fifth door, and in Bartók’s deliberate mismatch between Judith’s initial optimism and the dark oppression of the orchestra, Murrihy thrills with her voice while fully inhabiting her symbolic assignment with her presence.” — Read more at The Irish Times.
“McGegan led his forces with a combination of fleet phrasing — his longtime interpretive stock-in-trade — and a certain respectful calm that seemed entirely appropriate to the repertoire.” — Read more at datebook.sfchronicle.com
Among elected to the RSC’s distinguished ranks are School of Music professor Benjamin Butterfield, one of Canada’s finest tenors…While Butterfield has won international plaudits as one of Canada’s best operatic tenors, he is equally passionate about his role as head of voice for UVic’s School of Music. “With a performance career, the more you’re in […]
“Nicholas McGegan’s touch has never been surer, and he pushes artists and moods to their expressive limits.” — Read more at BBC Music Magazine.
“…he barihunk has a brawny voice to back up his toned physique. His final solo was an unsettling display of hysterics — imposingly perched atop a banquet table, Adams leaped erratically between roaring chest voice and shrill falsetto.” — Read more at San Francisco Classical Voice.
“In the end, though, much of the production’s success rests on the fearless, steely and musically alert performances of Buck and Adams. Both of them are well known locally as artists who never shy away from a challenge, but their contributions here — which combine imperious technical panache and a lingering air of vulnerability — […]
“Caramoor ended its summer festival with a special treat for opera lovers, a concert with Susan Graham, accompanied by the always-fabulous Orchestra of St. Luke’s, led by Nicholas McGegan. Once again, the weather on the leafy estate of Caramoor, with its sumptuous gardens and grounds, was a perfect match to the delightful and intriguing program.” […]
“The orchestra, stretched to 40 players (triple winds plus extra percussion and a musette [bagpipe]), captures all the rapidly shifting moods brilliantly. There are tons of short, contrasting movements, the essence of this court entertainment, and Music Director Nicholas McGegan puts the orchestra through its paces, thoroughly characterizing each one.” — Read more at San […]