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Update from Nic: Surgery

On July 15, 2019 |
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A great big THANK YOU to the nearly hundred kind friends who wrote to me on Facebook to wish me well for my hip replacement surgery.

Here is a little update:

I went into Stanford Hospital on Friday morning and was operated on about 7:30 am. The procedure lasted about an hour and a half. I was then moved to the recovery room and after a couple of hours to a nice room, which I shared with one other patient. My care could not have been better managed; even the food was good!

Amazingly, I was discharged on Saturday evening, a whole day ahead of schedule. So I am now back home and David is looking after me wonderfully. I have a great supply of books and Netflix too. My physiotherapy began this afternoon.

Thanks to everyone for your good wishes.

– Nic

Statement from Nic: Upcoming Surgery

On July 10, 2019 |
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Greetings! I want to share that this Friday, July 12th, I will be undergoing a scheduled hip replacement surgery at Stanford. With only a brief stay, I will arrive home on Sunday. I plan to share updates of my recovery and perhaps a photo or two. Please keep me in your thoughts this weekend as I look forward to making a speedy recovery.

– Nic

The Aspen Times: “Review: Powerful opening week to start Aspen Music Festival”

On July 10, 2019 |
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“The Vivaldi was in McGegan’s wheelhouse…he laid the foundation for brilliant playing from Hungarian trumpet virtuoso Tamás Pálfalvi and the Atlanta Symphony’s principal trumpet Stuart Stephenson.”

Read the full review: The Aspen Times.

Calgary Herald: “Review: Bach given uplifting treatment at Knox United Church”

On July 10, 2019 |
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“McGegan always projected good ideas from the podium, and with strong instrumental and vocal soloists, there was a sense of spark that could easily be sensed. No one left the hall disappointed.”

Read more at Calgary Herald.

SWR: “Gast im Studio: Nicholas McGegan, Dirigent”

On May 16, 2019 |
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Nicholas McGegan ist gewissermaßen ein Multitalent: er ist Cembalist, Barockflötist und Dirigent, ein Pionier und Praktiker der historisch informierten und historisierenden Aufführungspraxis aus England. 20 Jahre war McGegan übrigens künstlerischer Leiter der Göttinger Händelfestspiele, leitete daneben Barockfestivals und Barockorchester in den USA, arbeitete an bedeutenden Opernhäusern und sammelte zudem als Erster Gastdirigent bei renommierten Sinfonieorchestern auch Erfahrungen mit dem klassisch-romantischen und modernen Repertoire. Bei der Orchesterakademie II der diesjährigen SWR Schwetzinger Festspiele am 11. Mai probt und dirigiert er Strawinsky, Mozart und Prokofjew. 

-Listen and read more at SWR2.

LA Times: “Handel’s ‘Saul,’ not the ‘Messiah,’ with Nicholas McGegan in his element”

On April 11, 2019 |
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“Four years after “Saul,” Handel and the same librettist, Charles Jennens, would go on to produce that first true, most famous and still most lasting of all oratorios, meant for Easter (even if appropriated by Christmas). Instead Nicholas McGegan, the longtime music director of the Berkeley-based period instrument ensemble and as fine a “Messiah” master as there is, hatched a different and in many ways delightful, if eccentric, Easter egg…McGegan is the Philharmonia Baroque, and it will be hard to imagine the orchestra without him when he steps down after next season.

-Read more at the Los Angeles Times.

Photo: Nicholas McGegan conducting Philharmonia Baroque Orchestra at Walt Disney Concert Hall in 2016. (Marcus Yam / Los Angeles Times).

Classical MPR Interview: “New recording brings Rameau’s ‘Temple of Glory’ to life as originally envisioned”

On April 10, 2019 |
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“Four years after the San Francisco-based Philharmonia Baroque Orchestra was formed, Nicholas McGegan was hired to be its first music director. 35 years later, he’s still finding ways to keep the musicians and the audience on their toes.

“We have a whole series of new music written for old instruments, so we have composers who come in and work with us to play music that’s fresh off the page, and that keeps our musicians on their toes. It gives them a chance actually to work with live composers, which normally we wouldn’t do. Normally we’re just good at working with the dead ones.”

-Read more at Classical MPR.

McGegan & PBO in “top form” for Handel’s ‘Saul’

On April 10, 2019 |
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McGegan-Van Doren

“Saturday’s performance, which repeats Friday in San Francisco and Saturday in Palo Alto to close Philharmonia’s 38th season, found McGegan and ensemble in top form, powering through the two hour, 50-minute score with brisk, unflagging energy.”

-Read more at San Francisco Examiner.

SF Datedbook: “McGegan’s leadership brought out the score’s color and vibrancy”

On April 7, 2019 |
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Mcgegan conducts

“McGegan and the orchestra, meanwhile, demonstrated yet again why the Handel oratorios have been such a triumphant staple of their work together over the past 30 years and more. “Saul” is full of instrumental extravagances, from the rare presence of trumpets and trombones to a flashy solo for a sort of keyboard-driven glockenspiel.

Again and again, the ensemble under McGegan’s leadership brought out the score’s color and vibrancy. Not even the peevish Saul himself could have begrudged the performers their success.”

-Read more at SF Datebook.

The Guardian: “Mozart’s mentor sparkily revived”

On April 4, 2019 |
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Nicholas McGegan

“However bad things had got for Mozart when he died, at least he still had his nose. We know from a letter Mozart wrote to his father that Josef Mysliveček, the Czech composer two decades his senior who was a friend and something of a mentor, had his burned off in a botched surgical attempt to cure syphilis. Like Mozart, Mysliveček was brilliant, acclaimed where he worked – mostly in Italy – and incurably profligate.”

-Read more at The Guardian.