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Reviews
Quote Him, Promote Him, Start Singing Him Now
NY TIMES MUSIC REVIEW
By Steve Smith
Published: August 10, 2008
David Stern drew a lithe, idiomatic account from his players. The same could be said for David Charles Abell's buoyant work in Kate and David Angus's sensitive leadership in Capuleti. That the orchestra could sound this good in such vastly different pieces, played in close succession, is definitely a feather in its cap.
NY TIMES MUSIC REVIEW
By Steve Smith
Published: August 10, 2008
David Stern drew a lithe, idiomatic account from his players. The same could be said for David Charles Abell's buoyant work in Kate and David Angus's sensitive leadership in Capuleti. That the orchestra could sound this good in such vastly different pieces, played in close succession, is definitely a feather in its cap.
Wagner's early flop, "DAS LIEBESVERBOT", gleams at Glimmerglass
ClassicsToday.com By Bob Levine
August 10, 2008
Much of the credit for the show's success must go to conductor Corrado Rovaris, who treated the work, tambourine solos and all, as if it were an exciting, valid piece of theater. He kept the ensembles alive and the orchestra and chorus played handsomely for him. If any opera company can pull Das Liebesverbot off as a legitimate evening of opera, it's Glimmerglass.
Glimmerglass Festival makes beautiful music of Shakespeare
NJ. Com by Liz Keill
August 28, 2008
David Charles Abell is the lively conductor of the lush and sensual orchestra...and Porter's music never sounded better.
Light-hearted opera seria
ConcertoNet.com
By Michael Johnson
Published: July 18, 2010
"Christian Curnyn's way with the score is notably lively and varied throughout. It's a pleasant surprise to get such stylish results from a non-specialist orchestra (supplemented by a continuo consisting of a baroque cello, theorbo, archlute and harpsichord)."
ConcertoNet.com
By Michael Johnson
Published: July 18, 2010
"Christian Curnyn's way with the score is notably lively and varied throughout. It's a pleasant surprise to get such stylish results from a non-specialist orchestra (supplemented by a continuo consisting of a baroque cello, theorbo, archlute and harpsichord)."
Glimmerglass Recycles Its Sets, Not Its Ideas
NY TIMES MUSIC REVIEW
By Steve Smith
Published: August 9, 2010
[Tolomeo] "Christian Curnyn, the conductor, led a buoyant, stylish performance that showed the orchestra's estimable feel for Handel's idiom." [Tender Land] "Stewart Robertson, the conductor, drew outstanding playing from the orchestra." [Tosca] "And the orchestra, conducted by Mr. Angus, did outstanding work."
NY TIMES MUSIC REVIEW
By Steve Smith
Published: August 9, 2010
[Tolomeo] "Christian Curnyn, the conductor, led a buoyant, stylish performance that showed the orchestra's estimable feel for Handel's idiom." [Tender Land] "Stewart Robertson, the conductor, drew outstanding playing from the orchestra." [Tosca] "And the orchestra, conducted by Mr. Angus, did outstanding work."
Notes from Philly
ValdesWordPress.com weblog review
Published: August 6, 2010
"Young Scots Christian Curnyn leads a modern band that incorporates baroque continuo. Michael Leopold's theorobo pokes its long neck up from the pit like a periscope. Leopold also plays baroque arch lute and there are the pleasures of Ruth Berry's baroque cello and David Moody's harpsichord."
ValdesWordPress.com weblog review
Published: August 6, 2010
"Young Scots Christian Curnyn leads a modern band that incorporates baroque continuo. Michael Leopold's theorobo pokes its long neck up from the pit like a periscope. Leopold also plays baroque arch lute and there are the pleasures of Ruth Berry's baroque cello and David Moody's harpsichord."