“Following Intermission, Alexander Dobson’s warm and powerful baritone voice filled the barn with the despair of a man who has been rejected by the one to whom he has confessed his love and longing. Schumann’s Dichterliebe, Op. 48, a cycle of sixteen songs, is the epitome of German Romanticism. No one can express despair better […]
“Nicholas McGegan and the Philharmonia Baroque Orchestra and Chorale have just released a recording of an opera that is a perfect example of Rameau’s genius. “Le Temple de la Gloire” (“The Temple of Glory”) was first performed in 1745 at Versailles to celebrate the French victory at the Battle of Fontenoy and features a libretto […]
“After intermission, it was all G.F. Handel sung by soprano Dominique Labelle who teaches voice at McGill University in Canada. She sang two Handel Arias, HMV 204-5 and a long Bach Cantata, BWV 82, which provided a rich meditation on death. Labelle expertly caught the joy beyond resignation that the music yearns for in a […]
“Hadleigh Adams not only matches Acosta in charm and vocal power and purity, but makes Hawk a bracing shot of bourbon to Tim’s fortifying milk” — Read more at TwinCities.com Photo: Dan Norman
“It was a pleasure to encounter Diana Moore again at Göttingen, bringing her sumptuous mezzo voice and dramatic skills to the role of Hercules. For the first half of the piece she had only to sit looking god-like, but also responding to the different arguments – obviously, no easy choice. “Yet, can I hear that […]
“Dramatically engaging, Schade sang the 16th-century Sonnet for strings and cembalo accompaniment with crystal-clean intonation and an even, forward-placed legato.” — Read more at OperWire.
“It was the Rossini that received the evening’s finest performance. With a reduced-in-size ensemble onstage, McGegan elicited playing that was characterized by transparent textures, fleet tempi, bracing rhythms and expertly modulated dynamics to capture the opera’s glittering rendering of the Cinderella fairytale. His command over the legendary “Rossini crescendo” was breathtaking.” — Read more at […]
“…a thrillingly colourful performance…Nicholas McGegan’s Swedish Chamber Orchestra give the catchy opening tutti just enough strut, and Frank-Gemmill’s acrobatic intro is a winner…” — Read more at The Arts Desk