Concert & Recital

Handel recital with the Dallas Bach Society
Headline: A Rising Star Returns to Her Roots

“Our own” Texas-born, TCU-trained lyric coloratura soprano Ava Pine, who continues to make ever bigger waves in the operatic world, returned to Dallas Saturday night for an all-Handel concert at the Church of the Incarnation with the Dallas Bach Society. (The Bach Society was one of Pine’s early launching pads, and she obviously has not forgotten old friends.) us gambling on iphone apps

As expected, and based on past experience, Pine and a small orchestra led from the harpsichord by Bach Society artistic director James Richman proved that Handel’s genius extends beyond Messiah. Pine, who triumphed last spring in Fort Worth in the music of the twenty-first century in the title role in Mark Adamo’s Lysistrata, is equally at home in the music of the early eighteenth century. In particular, during the second half of the concert, devoted to Italian arias from Handel’s middle, operatic phase, she found the perfect balance of passion and intellect in a demanding, highly specialized repertoire. The fortunate audience members were not only engaged by a voice of incredible natural beauty and flexibility, but were likewise given a rare insight into the eighteenth century’s fascination with myth and metaphor.”
-D Magazine, Wayne Lee Gay – February 2013

Christmas Celebration  Dallas Symphony Orchestra

“The most angelic performance of the Dallas Symphony Orchestra’s Christmas Celebration, onstage through Sunday, comes from local favorite soprano Ava Pine.

Pine, a current Grammy nominee who studied at Texas Christian University and won the Fort Worth Opera’s McCammon Voice Competition a few years back, offers stunning singing in Max Reger’s Maria Wiegenlied, Op. 76/52. Her performance is worth the ticket price.”
-Fort Worth Star-Telegram, Gregory Sullivan-Isaacs – December 2010

 Latin American Baroque – Fort Worth Symphony Orchestra

“While the unusual instruments caught the eye, it was Pine’s smooth, soaring soprano that caught the ear and stole the show. Her voice floated and filled the hall like a fog settling on the Andes.”
-Fort Worth Star-Telegram, Punch Shaw – August 2010 the best gambling directory

Handel Messiah – St. Thomas Episcopal Fifth Avenue

“Ava Pine painted the soprano arias, especially “I know that my redeemer liveth,” in sumptuous timbres driven by alert, dramatic phrasing.”
-New York Times, Allan Kozinn – December 2009

Handel Messiah – Dallas Symphony Orchestra

“Soprano Ava Pine was the star of the soloists, her voice grown richer and more powerful but still gorgeous, her delivery elegance itself.”  -Dallas Morning News, Scott Cantrell

Handel Messiah – University Musical Society, Ann Arbor

“Pine’s graceful, soaring soprano voice was especially sublime in the air “I know that my redeemer liveth.”, Laurel Firant 

Handel Messiah – Dallas Bach Society

“Two of the soloists were fabulous. In fact, Ava Pine was beyond fabulous, her soprano lustrous, agile and expressive. And she was a vision of haute couture, in red shawl and suavely cut wraparound black dress.”
-Dallas Morning News, Scott Cantrell

Mozart Requiem – Dallas Symphony Orchestra

“The soloists sang sensitively and well, the ensembles with a tautness rarely heard in the concert hall. Soprano Ava Pine, tenor Karl Dent and baritone Weston Hurt thrilled the ears.”
-Dallas Morning News, Scott Cantrell

Bach Jauchzett Gott in allen Landen – Dallas Bach Society

“But the showstopper was a Bach cantata, Jauchzet Gott in allen Landen (BWV 51), in a dazzling performance by Ava Pine. Miss Pine’s formerly gentle voice has gotten bigger and fuller, but with no sacrifice of the elegance and agility that first made audiences sit up in amazement. Her Bach was vividly projected and lovingly caressed, and plenty of names-in-lights singers would sell their souls to produce sounds of such radiant beauty.”
-Dallas Morning News, Scott Cantrell

Baroque Recital – Texas Camerata

“Pine’s rendering of selections from … BWV 82, in which every note emerged fully shaped, perfectly honed and without the slightest taint of strain, was so gorgeous and enthralling that it felt as if Bach was speaking directly to us with no score in between.

Pine fared even better in a pair of arias from Handel’s opera Alcina. She transformed the second from an ordinary little love song into a charmingly coquettish musical seduction that was as rich in personality as in vocal agility.”
-Fort Worth Star-Telegram, Punch Shaw

“The clear but cushioned voice and rewarding musicianship of soprano Ava Pine was memorable in a program of Baroque and Classical music…Her ‘Lascia ch’io pianga’ from Handel’s Rinaldo was spun out with real emotion and ‘Da tempeste il legno infranto’ was simply spectacular.”
-Early Music America, Ben Dunham (reviewing the Boston Early Music Festival) play video roulette online

Bach Cantatas 82, 202 and 209 – Dallas Bach Society

“Every once in a while – not often – there’s a singing voice so purely beautiful it all but takes your breath away. Ava Pine has one of those: a sweet, radiant lyric soprano that seems effortlessly pliant and expressive. … Ms. Pine, with new substance in her lower register, sang ravishingly.”
-Dallas Morning News, Scott Cantrell 

“Leading the performance was a star-in-the-making: golden-voiced soprano Ava Pine. … There’s something angelic in Pine’s music making, recalling at times some of the bright, luxuriant tone of singers Dawn Upshaw and Kiri Te Kanawa. On Saturday, Pine’s lyric coloratura waxed eloquent in the Italian and Wedding cantatas. But in the cantata Ich habe genug (transposed for soprano, flute and strings), her expressive ardor had a real chance to bloom. Pine conveyed the cantata’s sublime world-weariness with pliant phrases and wrenching attention to text.”
-Fort Worth Star-Telegram, Matthew Erikson  us gambling sites for mac

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