Previous Press - Press Quotes 2003-2004 Season Robert Schumann’s Scenes from Goethe’s “Faust” Hoose, his cast, disciplined chorus, and talented orchestra reveled in the diversity of the work, giving each episode its own character . . . the finale was seraphic and the choral sound was glorious. . . . Baritone David Kravitz took the roles of Faust and Dr. Marianus. Each season this intelligent singer makes a leap forward in artistry and vocal security, and this may have been his most fulfilling performance yet. He reached great heights in Faust’s passionate prayer … Soprano Jennifer Foster . . . came into her own in the tremendous tormented soliloquy . . . and her voice soared satisfyingly aloft in the final scene. Bass Mark Andrew Cleveland was an elegant devil . . . In the smaller parts many Cantata Singers regulars delivered the virtues the public has come to expect of them . . . It is pleasant, too, to praise some newer voices . . . The Cantata Singers have built a great tradition but they are about renewal too. Richard Dyer, The Boston Globe “. . . David Hoose . . . makes the stylistic variety [of the three separate parts] seamless and meaningful. Hoose had going for him a superb orchestra . . . the chorus at its most glorious (both full-throated and rapturously quiet) . . .” Lloyd Schwartz, The Boston Phoenix “With its broad range of arias, sophisticated choral writing and gorgeous orchestra for the band, “Faust” works . . . Fine voices were everywhere: David Kravitz in the title role, singing as usual with taste and insight; his Gretchen, soprano Jennifer Foster . . . Mark Andrew Cleveland (Mefisto) and Charles Blandy (Ariel) also stood out. . . . The complexities of the score and the densely packed stage seemed to bring out he best in Hoose: The entire reading sounded well-planned and convincing.” Keith Powers, The Boston Herald “Most noteworthy at this fine concert performance . . . was the continuous drama sweeping through the work . . . and the consistent excellence of the several soloist parts. . . . There was good pacing between the large chorus and two soloists, lending to dramatic, operatic fullness. . . . This was a well sung, consistently engaging performance of a rarely performed Schumann work. Kudos.” Carolyn Gregory, Stylus Schütz, Bach, Schoenberg “The choral singing under David Hoose last night was first rate in quality of sound, balance, intonation, ensemble, and involvement with text . . . The instrumental playing in the cantatas was also superb. . . . [Schoenberg’s Friede auf Erden] has become a signature piece for his singers. Under his direction, alternately angular and flowing, the performance traced an intense emotional journey. . . . Hoose and the chorus responded to a standing ovation by repeating the work . . . and the second performance reached an apocalyptic intensity.” Richard Dyer, The Boston Globe “David Hoose led the Cantata Singers last weekend in one of their most powerfully organized programs: choral works by Schütz, Bach, Schoenberg about destruction and revenge . . . humility . . . hypocrisy . . . and peace on earth . . . The chorus and orchestra were, as usual, stellar .. the stars were Hoose and the phenomenal chorus in the challenging Schoenberg . . . Following a standing ovation, Friede auf Erden had to be repeated, and it was even more radiantly impassioned, illuminating the entire evening — reading what surely in many of the listeners’ hearts and shedding on us a kind of grace.” Lloyd Schwartz, The Boston Phoenix “. . . a gorgeous reading of declamatory texts . . . [the Schütz psalm was] wonderfully crafted by Hoose. . . . Doing what choruses do best, sounding like one voice per part, the Cantata Singers made [the Schoenberg look] like something to follow based on introspection, and humility, a sense that power makes not purpose.” Keith Powers, The Boston Herald Bach’s Saint John Passion “. . . John Harbison . . . led the Cantata Singers . . . and it was an extraordinary event. . . . [it] was text-oriented and exceptionally dramatic . . . the storytelling dimension of the piece was intense and compelling . . . Tenor William Hite delivered the Evangelist’s texts . . . with hauntingly personal vocal colorations . . . the aria soloists . . all [sang] with unusual urgency. The chorus sang as if possessed, and the [instrumental] soloists [were] first-rate . . . All of these musicians are familiar with more traditional approaches to the work, but they delivered the soul-stirring personal investment that Harbison was after. Listening to the “St. John” Passion wasn’t an abstract, escapist, reflective experience; it was like wrestling with angels.” Richard Dyer, The Boston Globe “Harbison the opera composer led a mysteriously paradoxical performance — one that emphasized the extremes of cinematic action, self-laceration, and calm contemplation. . . . Harbison’s triumph was that his emphasis on dramatic intensity resulted in a sense of deep soul searching, a spiritual quietude . . . It was the chorus and the chamber orchestra that were his most expressive vehicles . . . The Cantata Singers chorus, which includes all the aria soloists, were extraordinary in the way they sucked one into their spiritual wrestling — haunting in their anxiety, alarming in their rage, yet with an almost flickering lightness of touch. The orchestra as a whole . . . all created an atmosphere that combined storytelling and prayer. Which seemed to be at the very heart of Harbison’s conception.” Lloyd Schwartz, The Boston Phoenix “. . . [a] nuanced and penetrating interpretation of Bach. The conductor . . . soloists and other principals . . . all performed with insight. The chorus and orchestra completed the pleasure.” Keith Powers, The Boston Herald “Boston Bred” “Before the second half of the Cantata Singers’ concert began Friday night, their music director, David Hoose, was awarded the prestigious Ditson Conductor’s Award, which recognizes exceptional dedication to American music. It could not have come at a more fitting moment: Hoose and his talented band of singers were in the midst of exploring works of [six] Boston composers, each of whom occupies a distinct space in this musical community, past and present. . . . The Cantata Singers’ marvelous performance of this challenging program served as an acute reminder that in choral works, the music is at the service of the words. Throughout the evening one was always aware of the meaning in and behind the texts, of their import and intensity. An award for that wouldn’t have been out of place.” David Weininger, The Boston Globe “David Hoose just won the 2005 Ditson Conductor’s Award ‘in
recognition of exceptional commitment to the performance of works by
American composers.’ Last weekend, he led the Cantata Singers in
an exceptional program of American choral music . . . Five of the pieces
are in a late-20th-century Romantic tradition — beautifully crafted,
vocally gratifying, expressive settings of British and American poems,
unsentimental, yet radiating sweetness. The chorus and orchestra delivered
all of these with confident eloquence and affection.” Home | About Us | Concerts | Tickets | News | Education | Recordings | Contact | Donate Now Last Update:
|