FAVELLA LYRICA
"I doubt anyone who had never heard Favella Lyrica could imagine what they do, or how well they do it: We've never heard anything quite like the duet singing of Pamela Murray and Pamela Dellal." |
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Michael Beattie, harpsichord
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Michael Beattie has established himself as a musician of exceptional
versatility and through his work as keyboard player, vocal coach, and
conductor has become a valued member of Boston's musical community.
Beattie has conducted the Chorus and Orchestra of Emmanuel Music on
many occasions as the group's Associate Conductor. He has toured Europe
and this country as Assistant Conductor of Peter Sellars' controversial
stagings of the Mozart/da Ponte operas conducted by Craig Smith. Recently
he made his opera conducting debut in the Boston premiere of Handel's
Rodelinda to critical acclaim. An accomplished continuo player,
Beattie has performed as harpsichordist and organist with Emmanuel Music,
Cantata Singers, Boston Cecilia, Handel and Haydn Society, Florida Grand
Opera and at the Carmel Bach Festival. He is founding member and harpsichordist
of Favella Lyrica and he has served as musical assistant to baroque
specialists Harry Bicket, Jane Glover, Emmanuelle Haïm, and Bernard
Labadie. He is currently on the music staff of Glimmerglass Opera, Chicago
Opera Theater and Pittsburgh Opera. As a pianist, he has performed at
the Athens, Banff, and Tanglewood music festivals. World premieres to
his credit include works of John Harbison, Andrew Imbrie, Earl Kim,
and Andy Vores. Beattie is a graduate of the Eastman School of Music
and Boston University. He has been on the faculties of Boston University,
Tanglewood Music Center and the Walnut Hill School. He has recorded
for KOCH International Classics and Nonesuch records.
WHAT THE PRESS SAYS...
Recital, May 5, 1996
Bach flute sonatas (with Christopher Krueger)
piano
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"The writing calls for virtuoso playing (and Beattie provided it gloriously)..." Catherine Peterson, Boston Globe
Emmanuel Music, March 30 &;31, 1996
St. Matthew Passion
chorus master, organ
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"The thrilling chorus...was so together, each vocal line--even in double choruses--was distinctly audible, including the words." Lloyd Schwartz, Boston Phoenix
Boston Lyric Opera, March 6-17, 1996
Xerxes (with Lorraine Hunt; Craig Smith, conductor)
rehearsal pianist, harpsichord
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"Michael Beattie was superb at the harpsichord."Richard Dyer, Boston Globe
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"...no doubt with the help of continuo-player/assistant conductor Michael Beattie, this is probably the best musically prepared production in the recent history of the Boston Lyric." Lloyd Schwartz, Boston Phoenix
Emmanuel Music, September 15 &;17, 1995
Brandenburg Concertos
piano (soloist, No. 5)
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"Michael Beattie led a performance that was among the most transparent, buoyant and timelessly suspended I've ever heard. The long, falling sequence in the first movement simply floated and Beattie's negotiation of that movement's treacherous cadenza was enviable. In the slow movement, a sublime trio, he took full advantage of his modern instrument, making one believe that Bach must have written this piece for the piano. It doesn't get much better than this." Michael Manning, Boston Globe
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"Honors, though, go to pianist Michael Beattie, whose rippling continuities in a breathtaking solo performance in No. 5 show how far he's come from mere rehearsal accompanist." Lloyd Schwartz, Boston Phoenix
Greenleaf Chamber Players - 92nd Street Y, NYC, March 12, 1995
(with Peggy Pearson and Dawn Upshaw)
harpsichord
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"...the Greenleaf Chamber Players, a first-rate ensemble that played the Bach with a perfect sense of Baroque transparency..." Allan Kozinn, New York Times
Solo recital, February, 26, 1995
piano
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"...Michael Beattie has emerged as one of Boston music's MVPs...a distinguished musician and a skillful pianist...precision of his fingerwork and the liveliness of his musical mind...confident and atmospheric...shimmering lightness." Richard Dyer, Boston Globe
Cantata Singers, March 18 &;20, 1994 St. Matthew Passion
organ
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"...orchestra of star soloists included the profoundly sympathetic, practically vocal continuo playing of Michael Beattie..." Lloyd Schwartz, Boston Phoenix
Emmanuel - Brahms Series, January 24, 1993
piano (with Mark McSweeney)
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"...Beattie was McSweeney's exemplary partner, playing with suppleness, honesty and lyricism." Anthony Tommasini, Boston Globe