En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Nicholas McGegan

The organ virtuoso is the undisputed star of an otherwise shaky program of Baroque selections.

Bach’s First Orchestral Suite and Schubert’s Fifth Symphony were perfect vehicles for the Seattle Symphony’s transformation into a vivid Baroque/Classical ensemble under McGegan’s dynamic leadership.

Two minor key works, performed before a – limited – live audience in Dallas, and streamed online. 

Familiar works by Bach, Handel and Corelli were enhanced by a fine performance of Mendelssohn's rarely played String Symphony no. 7.

Nicholas McGegan led The Cleveland Orchestra in spirited performances of a Mozart symphony and concerto, the latter with Marc-André Hamelin, and the program was rounded off with suites of music by Rameau and Gluck.

Suffering, forgiveness, and natural brass in a brand new dramatic oratorio

Cal Performances and Philharmonia Baroque present a lavish modern-day première of the 1745 version of Rameau's Le Temple de la Gloire. 

Nicholas McGegan leads Royal Northern Sinfonia and Samling soloists through a dramatic and thought-provoking performance of Handel's Israel in Egypt to offer an alternative look at the Easter message of hope. 

English conductor Nicholas McGegan led a responsible reading of Handel's now-classic oratorio, infusing some dramatic and lyrical touches into a largely unruffled evening.

A dazzling soloist from the orchestra’s ranks and a charming Schubert symphony with conductor Nicholas McGegan

Guest conductor Nicholas McGegan also led pleasing performances of Haydn’s Symphony no. 99 and Mendelssohn’s “Scottish” Symphony. 

Nicholas McGegan and the Philharmonia Baroque Orchestra give new life to a Scarlatti serenata.

The orchestra's principal cellist Mark Kosower gave a performance of Haydn's Concerto in C notable for its transparency and grace at this late summer Blossom Festival concert.

A rendition of The Creation in Auckland that had one marvelling anew at Haydn’s ingenuity and spirit. 

There might be a shiver of fear in some quarters when the listener is confronted with the name Nicholas McGegan. Mercilessly rushed tempi, slipshod ensemble—and the wool-on-chalkboard horror of vibratoless strings.