new york city's period instrument orchestra
performing at alice tully hall - lincoln center

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Mozart and Rossini Arias
Witt Symphony in C
Mendelssohn Symphony No 5, "Reformation"

Layla Claire, soprano
Benjamin Butterfield, tenor
Thomas C. Crawford, Music Director

ACO was a participant in Daniel Pearl World Music Days in October.

Doral Arrowwood


Crain's New York Business, Theresa Agovino (February 10, 2013): "When the orchestra played a concert at Alice Tully Hall last week, the aggregate value for its 43 instruments was $2 million, or an average of $46,511. A 1780 Bergonzi bass was valued at $250,000, and a circa-1690 Giovanni Battista Rogeri violin at $175,000. In contrast, an especially good concert violin made in the past few years could cost about $10,000, experts said. 'The instruments just sound richer,' said Vincent Gardino, the orchestra's executive director.”

The New York Times, James R. Oestreich (November 28, 2012): "The Magnificat was presented in the 1733 version, with four movements appropriate to the Christmas season interpolated from the original version of 1723....Light, clear and pleasant voices predominated among the soloists....In the Bach prelude and fugue Mr. D’Agostino drew mighty and attractive sounds from Tully Hall’s Kuhn organ and extended his unobtrusive but imaginative embellishments even to the fugue subject."

The New York Times, Zachary Woolfe (October 16, 2012): " was in parts of the Mendelssohn that the sound of the period instruments was most distinctive. The softer, almost waxy antique woodwinds gave the overture an appropriately dreamlike cast, and the rawer-sounding trumpets made you hear a newly grand quality in the familiar Wedding March."

The New York Times, Allan Kozinn (April 10, 2012): "Thomas C. Crawford's American Classical Orchestra is working hard to be the period instrument orchestra that survives and thrives in New York, where so many have foundered. It is, in a way, a stealth contender....the orchestra devoted itself to works by Mozart and Beethoven, presented in trim, sculpted readings that captured the vigor and zest of the historical style...."

The New York Times, Anthony Tommasini (May 19, 2011): "With Mr. Crawford drawing stylish, lively playing from the orchestra; a gifted cast; and an inventive semi-staging by Cynthia Edwards, this performance put the piece [Grétry’s Richard Coeur de Lion] across beautifully."

The New York Times, Vivien Schweitzer ( October 5, 2010 ): "... an excellent rendition of Beethoven’s Symphony No. 3 (“Eroica”), which Mr. Crawford conducted from memory in an interpretation notable for its buoyancy and spirit."

The New York Times, Steven Smith (April 26, 2010): "Mr. Crawford’s conception of the Beethoven registered clearly enough in a taut, driven first movement; a crisp, sharply articulated Molto Vivace; and a sweetly spun Adagio."

The New York Times, Anthony Tommasini (November 18, 2009):
"I liked almost everything about the program: the informed, earnest and lively if sometimes scrappy performances; the alluring tonal qualities of the period instruments, especially the mellow strings and the dark reedy woodwinds; the chance to hear a titanic work like Mozart’s “Jupiter” Symphony played in an intimate hall."

The New York Times, Vivien Schweitzer (May 6, 2009): "Thomas C. Crawford conducted the orchestra from the harpsichord in a lithe reading of the melodic score...."



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Alice Tully Hall,
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Layla Claire and Benjamin Butterfield

JUNE 4, 2013 8pm
Pre-Concert Lecture 7pm

Layla Claire, soprano
Benjamin Butterfield, tenor

Friedrich Witt - Symphony in C, 'Jena'

W.A. Mozart arias:
Misero! O sogno, o son desto? Aura che intorni spiri, K.431
Dove sono, from 'Le nozze di Figaro'
Duet: Fra gli amplessi from ‘Cosi fan tutte,’ K.588

Felix Mendelssohn Symphony No 5, "Reformation"

The ACO concludes its 28th Season with an orchestral and opera tour de force. Two Metropolitan Opera stars will grace the stage in performances of virtuoso Mozart arias. Layla Claire, one of the most sought after young singers in today's opera world, will give her Alice Tully Hall debut. Layla arrives in the afterglow of her 2011 performances as Marenka in Smetana's The Bartered Bride at the Metropolitan Opera under the baton of James Levine. Canadian tenor Benjamin Butterfield is a favorite among both early music and contemporary music audiences. His elegant tenor voice takes center stage in Mozart's commanding aria Misero, O sogno.

A rarely performed early 19th century symphony opens the program. Friedrich Witt's 'Jena' Symphony is of such energy and quality that for over one hundred years it was attributed to Witt's contemporary, Ludwig van Beethoven.

The concert concludes with a performance of Mendelssohn's Symphony No. 5 'Reformation'. This symphonic masterpiece was created out of Mendelssohn's religious fervor as he converted to Lutheranism. It is in honor of the 300th anniversary of Martin Luther's 1530 Augsburg Confession. Mendelssohn's scoring of the hymn Ein feste Burg is thrilling, edge-of-your-seat music. The ACO's performance is a New York 'premiere' on period instruments.

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If you want to give your tickets to a friend but cannot transfer the printed tickets before concert time, call 212-362-2727 to arrange to have a pass left at the Will Call Window.

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