The Forgotten Baroque (May 2008)
"Electricity permeated the air . . . Sixteen singers backed by antique instruments provided bell-like polyphonic embellishments to the baroque music of Rossi, Biber, and Carissimi as conducted in beautiful balance by Daniel Abraham."
"What a wonderment!"
"[Hebrew] never sounded more beautiful as the vowels were wonderfully emphasized for sonority."
"Silver Spring and the metropolitan area should be aware that they have a total gem with this group in their midst."
". . . thoughtfully balanced program."
A Baroque Bouquet (May 2007)
". . . the pace refreshingly brisk, like meeting an old friend wearing totally new attire."
"It's a very tricky work to pull off for all concerned and the Sinfonia forces made it shine."
Handel's Water Music (March 2007)
"One of the area's important chamber ensembles . . ."
". . . an evening of gleaming baroque jewels."
"The word 'exquisite' comes to mind when trying to express the experience of sitting in the Woodside with its perfect acoustics and listening to the Bach Sinfonia playing beautiful music on authentic instruments of the period...it is an experience well worth repeating again and again."
Purcell's Dido & Aeneas (November 2006)
"crackerjack band plus soloists . . . uniformly excellent cast"
"Under Abraham, the Bach Sinfonia sparkled in Purcell's dance interludes and provided adroit accompaniment."
"Chantry contributed lucid, beautifully weighted singing . . ."
" . . . Kampani's Dido was one to remember. Even among these singers, her voice stood out-lambent, limpid and lovely across her register, and whether loud or soft. She harnessed this voice to a striking reading of her character . . ."
"Kampani's imaginative phrasing and marvelous control made Dido's famous lament into a window onto her grief-riven soul, and Chantry and the Bach Sinfonia sounded their subsequent eulogies with equal eloquence."
"The Bach Sinfonia under Daniel Abraham's conducting offered well-judged tempo, usually quick but giving the solemn ending its due."
The Red Priest Vespers (May 2006)
"Bach Sinfonia conductor Daniel Abraham brought out the mystical side of Vivaldi."
"it was a different Vivaldi that the Bach Sinfonia and the 12-voice Chantry brought . . . much of it couched in voices of introspection and in a baroque romanticism that, at time, bordered on the mystical."
"The performances had none of those hard Vivaldi-like edges. Instead there were nuance and lyricism, the leisure to dwell on passing dissonances and to internalize the mysterious."
"Sinfonia conductor Daniel Abraham paced things very well, not dwelling on extremes of tempo, but not shying away from them either."
"soprano soloists Jennifer Ellis, who could fly through the thicket of runs . . . with astonishing agility and clarity."
"He [Abraham] also had instrumental forces that could maintain tension though the excruciatingly long suspensions of the "Al Santo Sepolcro" Sinfonia."
Handel: Alexander's Feast & Bach: Alles mit Gott (October 2005)
[North American Premiere, Annual National Meeting of the American Musicological Society]
"Gave the Washington area the first chance to hear the newly discovered Bach piece . . ."
"Abraham, the Sinfonia's director, led a vigorous performance by Amanda Balestrieri . . . Balestrieri did full justice to the music's ornate melodic beauty reinforced by a spicy instrumental ritornello."
"The Sinfonia players and members of the Handel Choir of Baltimore gave a robust account of the piece with exquisite solos"
"Abraham paced the work at a deliberate but bouncy clip, the music's energy intensified by clear articulation and a solid metrical pulse"
Brandenburg Concerti (November 2004)
"Stanley Curtis played a mean "Bach" trumpet Saturday, with even the fastest slew of notes obtained solely by resorting to lungs, chest muscles, lips and tongue. He was among the crackerjack soloists of the Bach Sinfonia . . ."
"The Sinfonia has given the Washington Area an enterprising decade of musical journeys back three-centuries, re-creating baroque works in a way that also helps listeners envision the world of musicmaking in marbled courts, gilded churches and gabled towns."