Michael Beattie - Conductor & Early Keyboards
Dido & Aenaes rehearsal
"The two works on the program that Beattie led from the harpsichord had an unusual degree of rhythmic vitality, musical clarity and stylistic unanimity...in the Bach cantata, he created a rhythmic framework over which the singers could thrive."
-James Chute, U-T San Diego
Michael Beattie’s conducting of the slimmed down, continuo-added orchestra was ravishing and thoroughly honest to Baroque practice.”
-Robert Levine, Opera Now
“Vividly rhetorical harpsichordist Michael Beattie…always brought off his continuo and obligato statements with panache and sparkle.”
-Christopher Greenleaf, Boston Music Intelligencer
“...the orchestra was superb....Michael Beattie conducted the stylish performance, drawing crisp playing from the orchestra.”
-Mark Kenny, Pittsburgh Tribune-Review
"Michael Beattie led a performance (Brandenburg Concerto No. 5) 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....It doesn't get much better than this."
-Michael Manning, Boston Globe
“Beattie's shapely and vivid direction and the playing of the extraordinary chamber orchestra...are the unqualified highlight."
-Lloyd Schwartz, Boston Phoenix
“Conductor Michael Beattie is superb with the nuances of early music.”
-Paula Citron, The Globe and Mail, Toronto, Canada
Michael at Carmel

 

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