“The moment opened a brief window onto the kind of meltingly expressive repertoire that once held the stage and delighted countless listeners — and that did so again on this occasion.” — Read more at SF Gate
“Special kudos go to the soloists…British-Canadian baritone Alexander Dobson, who knows how to imbue every note with drama.” — Read more at The Toronto Star. Photo: Tafelmusik and singers perform Alexander’s Feast by Handel on Thursday, Feb. 22 at Koerner Hall. (JOHN TERAUDS)
“Conducting without a baton (as he did for the entire concert), Mr. Halls summoned those dramatic opening chords with a big, sweeping two-armed gesture and took the Adagio maestoso introduction at a relaxed pace that made the brisk first appearance of that main theme, expertly played by Associate Principal clarinet Diana Haskell, that much more […]
“British conductor Matthew Halls, in his SLSO debut, led with plenty of vigor and no baton…. His account of the Schubert was as well-formed as it was energetic.” — Read more at The St. Louis Post-Dispatch
“Quigley blended the orchestral and choral forces skillfully. His moderate tempo in the great opening chorus allowed the music to work its deeply moving spell…The many reflective chorales that provide commentary on the story benefited from Quigley’s supple play of dynamics and natural pacing….shaped with unhurried breadth by Quigley and displaying the entire ensemble’s beautifully […]
Mainly behind the success was the grace of the music itself under visiting conductor Jory Vinikour. His fingers flew precise instructions simultaneously to baroque instruments and singers alike. And the sense of repetition built into baroque vocal passages was nicely varied and reconstructed. — Read more at Urban Milwaukee.
“Meticulous performance paired with thoughtful, narrative programming to lend a sense of theatre – spellbinding, immersive” — Read more at Schmopera.
“It was a treat to have Canada’s European-based Michael Schade in the tenor role. Overall, the tenor has the most to sing and also has the most expressive music. Vocally, Schade was in his natural element here, his focused tenor voice and thorough understanding of German oratorio style evident at every turn. The final duet […]