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News

Critical Acclaim 2009-2010

HARRY CHRISTOPHERS

The Boston Globe (Jeremy Eichler)
"No one can accuse Harry Christophers of setting his sights too low. The British conductor, who this weekend will lead his second set of concerts as artistic director of the Handel and Haydn Society, has big plans for the chorus and period-instrument orchestra...[The Sixteen's] success earns Christophers the right to be taken seriously when he articulates his ambitions for H&H."

Wall Street Journal (Barbara Jepson)
"...onstage, the conductor has what it takes to inspire the Society's fine musicians."

VIVA LA VOCE!

Classical Voice of New England (Robert Myers)
"Scholl performed the fioritura of the first aria 'Ah, ce'infelise semper' with the greatest facility and ease, which combined with the period orchestra created an anachronism of the Symphony Hall stage."

"The dissonance in the piece creates a palpable tension which Vivaldi's harmonies serve to release, and the orchestra executed the contrast magnificently, particularly the soft opening that begins the 2nd movement Allegro."

The Tech (Sundeep Agarwala)
"Mr. Spinosi's complete control over the ensemble manifested itself in sparkling precision and jeweled articulation."

Fenway News (Stephen Brophy)
"The expected driving quality of the motoric music was there, but so also was a delicacy that could render the tones of weeping as well as those of joy."

The Boston Musical Intelligencer (Tom Schnauber)
"In fact, the work that was arguably the weakest on the program in terms of compositional sophistication ended up being the most effective in terms of musical performance: Vivaldi's Stabat Mater, a drawn out, repetitive lament, was treated by both singer and conductor with such rich, expressive somberness, that it resulted in out of these rate and wonderful occasions where the performance raised the level of the music beyond its own intrinsic quality."

RETURNS AND FAREWELL

The Boston Globe (David Perkins)
"Levin played with lovely, natural, flowing phrasing in the quieter moments."

The Boston Musical Intelligencer (Mary Wallace Davidson)
"[Conductor, Jane Glover's] tempi were spritely but never too fast; the music was clear and crisp; the orchestra cheerfully and delicately following all the double-fortes and pianissimos and verbal cues written into the score to reflect the melodrama of the play...They are a joy to watch and hear the results simultaneously."

The Hub Review (Thomas Garvey)
"Here again, in keeping with her general theme of farewell, Glover was at her finest in the slow second moment, which seemed, in that way that only Mozart can, to be both luminously light and somehow heartbreakingly profound."

HANDEL MESSIAH

The Boston Globe (David Weininger)
"Conducting with broad, sweeping gestures, [Christophers] led a vital performance that bristled with energy and defied any sense of routine."

"But the real star of Messiah is the chorus, and H&H's did brilliantly, singing with an ideal combination of power and transparency. They deserved, and got, the longest and loudest recognition at the end."

The Hub Review (Thomas Garvey)
"In the Christophers version, however, it was all but impossible to remain seated for [the 'Hallelujah' chorus]. To me it seemed like a moment of genuine tribute — to Handel, of course, whose genius brought to such deep and luminous musical fruition the joyous mystery of redemption, but also to Christophers and the assembled forces of H&H, who brought that vision to life with such vibrant clarity...and so we stood not only in praise but in thanks."

"As for the chorus — it's never sounded better, and that's saying something. Christophers seems to have a special magic with chorales - diction, musicality, variety, he gets it all..."

"I couldn't help but join in the roars of approval that met the chorus and orchestra on the finale, which also read as a general affirmation of how lucky we are to have Mr. Christophers leading Handel and Haydn."

Wall Street Journal (Barbara Jepson)
"The chorus was beautifully balanced; in the warm, resonant acoustic of famed Symphony Hall, its sound was rich and full-bodied."

A BAROQUE GIFT

Fenway News (Jonathan Kim)
"The small orchestra, clustered together in the soft light of the golden lighted stage sounded magnificent in what Linden called one of the most beautiful concert halls in the world."

Classical Voice of New England (Robert Myers)
"Manfredini's Concerto in C, Op. 3/12, is a concerto grosso featuring two solo violins, both of which played expertly in the buoyant, imitative style. Indeed, concertmaster Daniel Stepner showed superb leadership throughout the piece, marking this a wonderful opening selection for the afternoon."

"[Principal oboist Stephen Hammer] performance of the 2nd movement Largo was musical artistry of the highest caliber; he shaped his phrases with utmost poise and control. Handel's concerto showcased the wind section of the period orchestra, displaying Handel's orchestrational skill and the wide palette of expressive tone colors at his disposal."

"The Handel and Haydn Society performed the program with great virtuosity and stylistic direction as well as a readily discernable joy for the repertoire on the program."

The Boston Globe (Jeremy Eichler)
"Corelli's Christmas Concerto, which closed the program, breathed more easily and benefited from an improved clarity of articulation. It drew a warm response from the audience."

PASSION IN VIENNA

The Boston Globe (Jeremy Eichler)
"It was clear that [Christophers] was already placing his stamp on the quality of the choral performances. His conducting telegraphs a constant sense of motion, as if every phrase should be going some place in particular."

"Christophers led the H&H chorus and orchestra in a clear, articulate, and highly rewarding performance of the Mass in C Minor. The overall sound had sufficient heft and definition, yet this account felt light on its feet, solemn where called for, yet also theatrically vivid."

Fenway News (Stephen Brophy)
"Christophers conducted the entire evening with his usual energetic flair. The overall experience of the evening was one of complete satisfaction and occasional bliss."

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