…all utterly compelling..

(Christophe Dumaux’s) extraordinary control of a single unaccompanied sustained note at the start of his heartfelt aria in the final act, shaping an achingly slow crescendo and decrescendo in a way that was little short of bewitching.

Flora Willson, The Guardian

The orchestra under Bicket’s sensitive flexibility wrought constant wonders and engaged with the action when they weren’t playing.

…four hours simply flew by.

David Nice, The Arts Desk

This ensemble sets a standard for Handel performance in the 21st century.

(Louise Alder’s) Cleopatra… was charismatic and fully realized, her voice sparkling like the diadem she donned in the final scene

Arya Roshanian, The New York Times

Bicket’s creative direction and the band’s period detail lifted the whole performance.

Jon Sobel, Blogcritics

(Harry Bicket) conjured a glorious reading full of nuances and splendor that brought out the greatness of Handel’s masterpiece

Louise Alder’s Cleopatra was the star—her soprano revealed new depths with each aria.

Heidi Waleson, Wall Street Journal

This was truly an extraordinary performance of Handel’s masterpiece.

Dumaux had everything you wanted from the title role: a commanding presence, a gorgeous voice full of color and nuance, an ease of coloratura, elegant phrasing and dynamics, and a commendable breath control.

Michael Anthonio, San Francisco Classical Voice

This cast might have been the best one has heard with them yet… The ensemble’s smooth, precise intonation and articulation are a large part of that, not only finer than early music ensembles in general but better than most modern groups.

George Grella, New York Classical Review

This Cesare (…) exuded star power

Neil Fisher, The Times (Paywall)

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Discover what critics from The Guardian, The New York Times, Wall Street Journal, and more had to say about our recent production of Handel’s Giulio Cesare
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In a dark and meaningful yet beautifully powerful performance,  alto, Jess Dandy, was superb. Under the direction of Francesco Corti, its small chorus might have been a cast of thousands, so powerfully did they project. Their opening, where the music seemed to be emerging threateningly from the bowels of the earth, had gripping force. Bach’s St John Passion, Good Friday,
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