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Boston Globe: Playful spirit enlivens Handel and Haydn Society concert

On March 5, 2017 |
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Nicholas McGegan

“…from the moment that Nicholas McGegan took the podium to conduct the Handel and Haydn Society at Symphony Hall Friday night, it was evident that a more playful approach had come to visit. More than once I was tempted to pull the nearest person into a dance, so infectious was the pulse at times. Heads bobbed, feet tapped, and hands instinctively beat time as this music leapt from the instruments and crackled in the air.”

— Read more at the Boston Globe.

Photo: Kat Waterman

Mozart and Arriaga with the Handel + Haydn Society

On March 4, 2017 |
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McGegan

“…McGegan stirred the whole ensemble to a double-forte frenzy, which slowly faded as Don Juan descended and disappeared from view, in as clear a musical depiction of damnation as could be imagined, and extremely effective.”

— Read more at The Boston Musical Intelligencer.

Photo: Kat Waterman

McGegan delivers “delight, and a vivid musical experience” at Baltimore

On February 27, 2017 |
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Nicholas McGegan

“Every detail, every gesture in the concert revealed a seriousness of purpose essential to deliver delight, and a vivid musical experience…It was an uplifting and revitalising concert, reminding us that extraordinary music making has no fixed age, and classical music is as varied as it vital.”

— Read more at mdtheatreguide.com.

McGegan leads PBO in “Haydn, Mozart and … Gyrowetz”

On January 28, 2017 |
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Nicholas McGegan

“McGegan clearly understood the paths that Blumenstock chose to forge, and he made sure that PBO was with her every step of the way with just as much confidence and spontaneous energy…”

— Read more at The Rehearsal Studio.

McGegan’s “graceful charm” with Pasadena Symphony

On January 26, 2017 |
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Nicholas McGegan

“Under his baton, the Pasadena Symphony bounded through these works with all the sureness of movement and graceful charm of an Olympic gymnast.”

— Read more at crescentavalleyweekly.com.

McGegan a “convincing voice” for the Baroque ‘Messiah”

On December 20, 2016 |
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Nicholas McGegan - Toronto Symphony

“The orchestra, not to be outdone, played with particular focus on the transparency of the sound…Even with our modern-day penchant for the huge, dense explosions of sound that Roy Thomson Hall was acoustically built for, McGegan has become a serious and convincing voice for the baroque approach to Messiah…In a sentence, this year’s TSO Messiah was about the collective soloists, orchestra, choir, and one conductor, McGegan, with the vision to put them all together — just so.”

— Read more at Musical Toronto.

Philharmonia Baroque Renders a Heroic Joshua

On December 6, 2016 |
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PBO

Music Director Nicholas McGegan carried it all off splendidly, with rhythmic command and plenty of high-contrast effects.”

— Read more at San Francisco Classical Voice.

McGegan conducts ‘Joshua’ with “consummate flair and unflagging rhythmic verve”

On December 2, 2016 |
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Nicholas McGegan

“…under McGegan’s inspired direction, the performance emerged as one of the period instrument ensemble’s finest offerings in recent memory…McGegan conducted with consummate flair and unflagging rhythmic verve, and the orchestra responded with a forceful, fully committed performance ”

— Read more at The Mercury News.

McGegan presents “a Handel for the rest of us”

On November 22, 2016 |
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Nicholas McGegan

“McGegan proved a sprightly, kinetic conductor, bringing out crisp articulations, bouncing rhythms and precise choral articulation (building on Edward Elwyn Jones’s preparation). Without encrustations of tradition to overcome, here was Handel for the rest of us.”

— Read more at The Boston Musical Intelligencer.

McGegan presents an “enlightening lecture/recital” at Harvard

On November 21, 2016 |
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Nicholas McGegan

“McGegan presented an enlightening lecture/recital, bringing this fascinating musical period to life via the Yale Voxtet, a group of eight graduate students at the Institute of Sacred Music, and the excellent Philharmonic Baroque Chamber Players, comprising violinists Katherine Kyme and Noah Strick, cellist Phoebe Carrai, and theorbist David Tayler.”

— Read more at The Boston Musical Intelligencer.