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Christine Brandes, soprano
Kate Maroney, mezzo-soprano
David Daniels, alto
Charles Blandy, tenor
Dashon Burton, bass
American Classical Orchestra Chorus
American Classical Orchestra
Thomas C. Crawford, Music Director
The New York Times, Corinna da Foncseca-Wollheim (June 6, 2014):
“A vibrant performance of Mozart’s “Prague” Symphony capped the concert of the American Classical Orchestra on Thursday at Alice Tully Hall and, with it, the ensemble’s season....The crisp and engaging program, conducted by the orchestra’s charismatic music director Thomas Crawford, also included the “Symphony in D” by Josef Myslivecek, a Czech composer Mozart befriended and admired; “Moldau-Klänge,” a collection of waltzes by the elder Johann Strauss; and an insightful performance of Beethoven’s Piano Concerto No. 1 — which received its premiere in Prague in 1798 — by the gifted Dutch fortepianist Bart van Oort.”
The New York Times, Corinna da Fonseca-Wollheim (March 21, 2014): "The hourlong semi-staged performance of “Alceste,” which marked the culmination of this year’s Handelfest, was sensitively directed by Cynthia Edwards. She made the most of the radiant young members of the American Classical Orchestra Chorus, who moved about the stage with natural grace. Two dancers, Lindsey Jones and Weaver Rhodes, fleshed out the silent roles of Alceste and Admetus, the lovers separated by death and then reunited. Their elegant movements, choreographed by John Heginbotham, combined stylized gestures and a certain sweet diffidence that fit the music well."
The New York Classical Review, George Grella (March 20, 2014): "The lingering impression from Wednesday night’s concluding Handelfest 2014 concert, played by the American Classical Orchestra and singers at Alice Tully Hall, is that New York City has its own bona fide early music orchestra, and a good one."
The New York Times, James R. Oestreich (March 5, 2014): "...the portrayal was strong and moving in its own right, and it was well matched by that of the sturdy mezzo-soprano Virginia Warnken as Micah, Samson’s faithful friend, constantly assessing the damage to his persona. Both sacrificed exactitude of pitch to expressiveness at times, though to generally good effect. The two bass-baritones — John Taylor Ward as Manoa, Samson’s father, and Andrew Padgett as the Philistine warrior Harapha — sang well. So did the soloists drawn from the excellent American Classical Orchestra Chorus, especially the sopranos Sarah Brailey and Marcy Richardson."