"Pordoy matched Spyres with lush and luxuriant playing that got its own moment under the spotlight with the Liszt solo “L’Idée Fixe,” based on the longing theme of Berlioz’s “Symphonie Fantastique.” It was an ultra-Romantic appetizer ahead of Liszt’s “Tre Sonetti del Petrarca”. “Spyres interpretive instincts were at one with the music, which resounded stirringly in the intimate Officers Room.” - George Loomis, Musical America The hundred or so of us in attendance surely felt united in a precious mountain-top experience." "Magnificent.Throughout the nearly two hours of superb music-making by Michael Spyres and his pianist Mathieu Pordoy, I was distracted by the growing awareness that this tenor must be the finest classical singer in the world today. “Spyres was at home, in his element and began the downsizing process to serenade us with exquisite high notes that seemed to come out of nowhere only to blossom as the poet found his balance with love and the universe.” - John Hohmann, Schmopera View Article Recital Series: Michael Spyres & Mathieu Pordoy
New York Times Critic’s Pick: “Superb … gave a small audience the treat of an intimate encounter with one of the world’s special young singers.The Heinrich Heine poem that Schumann [in her piece "Lorelei" sets describes the Lorelei’s singing as “wundersame, gewalt’ge”: wondrous and powerful. “D’Angelo, at every moment yesterday, showed her range as an artist and interpreter her voice was in turns searingly sensitive and overwhelmingly powerful, and she moved between genre and time period with ease.“ an artist in total intellectual and dramatic command.”” View Article Recital Series: Emily D’Angelo
"Tyshawn Sorey’s 'Monochromatic Light (Afterlife),' written for the Rothko Chapel in Houston, becomes longer and grander for the Park Avenue Armory." - Zachary Woolfe, The New York Times “ ravishing new production … suffused with feeling … riveting kinetic movement and dramatically shifting hues … a form of spiritual surrender” - Nate Chinen, NPR
New York Times Critic's Pick: "This rethought and more antagonistic 'Monochromatic Light' strikes a new richness in New York, and it affirms how abstraction can give form to suffering and freedom in ways more straightforward expression so often cannot … this is how you mourn and stay free." - Jason Farago, The New York Times
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