"A program chosen with unusual taste and played with much skill was presented by Herbert Burtis and Eleanor Benoist, duo-pianists, in Carnegie Recital Hall Monday night. Except for the Bach C major Concerto, the music came from the 20th century: Poulenc's Sonata and Lutoslawski's Paganini Variations, played with some regularity, and Riegger's Three Dances and Rorem's Four Dialogues presented with such rarity as to seem like novelties. What was most satisfactory about the performance was the kind of sonorities developed by the two artists. The Poulenc had a full, shining texture, whereas the Bach was appropriately dry and clear. Riegger's dances had strength and richness, the Lutoslawski a virtuosic brilliance".....Raymond Ericson.

"Burtis' playing was colorful and elegant. In interpretation the organist was forceful, with a masterful technique and colorful registration".....

"A very musical program by the organist Herbert Burtis was heard in the Kaiser-Wilhelm-Gedactnis-Kirche. A program departing from the conventional repertoire... A clear, intelligent reading of a Suite by the French Baroque master Louis Clérambault..."

"For those who like to mix some expense of spirit into their lunch hour, Harvard University yesterday provided a strenuous bout in the form of Messiaen's "La Nativité du Seigneur", played by an excellent organist, Herbert Burtis.....quite sets you back on your ear.....and offered with much energy and of course no end of organistic brilliance... ".....Michael Steinberg

"Mr. Burtis is a player of taste and genuinely virtuosic technique. His playing of the Liszt Prelude and Fugue on BACH was possessed of compelling vision and opulent power.."

a brilliant and varied program played by organist Herbert Burtis and a chamber orchestra . . . . The concert's tour de force was Poulenc's Concerto in C minor, written in 1939. Here Burtis was comfortably in his metier as a virtuosic artist..."

"The 'star' of the concert, without doubt, was organist Herbert Burtis, a formidable virtuoso. Burtis played the Poulenc Concerto about as well as I've ever heard it, which includes performances by many far more famous names. He seemed to feel at home playing in the grand manner; his instinct for color and drama could not be faulted. Organ fans should note the name and watch for recitals that Burtis gives" ...Michael Redmond

Herbert Burtis performs with his students, notable professionals and various chamber music groupings. in New York, New Jersey, and Massachusetts. Please consult our on-line performance calendar.

(Ernst Bacon Centennial festival, Cambridge, MA) "Most of the songs went to Janet Brown, who sang thirteen of Bacon's Emily Dickinson settings, as well as a group devoted to other poets, including Burns, Brontë, and Lenau (in German.) The soprano is an ideal interpreter of these works, singing with intelligence, musicality, urgency, suppleness of phrase, and ravishing beauty of tone. Brown is not the most publicized contemporary lyric soprano, but none of the famous ones sings any better than she does, and some of them nowhere as well. She enjoyed superb collaborative support by pianist Herbert Burtis, who played with an imaginative variety of dynamics and touch." ...Richard Dyer, The Boston Globe

Sister Camella's voice glows with both mediterranean warmth and youthful brilliance, especially in the upper register. ...By this time Sister Camella hit her stride and her favorite pieces. She poured on the Italian pathos in Dobaudy's "O del mio amato ben" and continued it in Santuzza's aria from Mascagni's Cavalleria Rusticana, exploding in glorious high notes and racking sobs in her astounding bass register. Another standing ovation brought her back to sing Tosti's rhapsodic "L'Alba separa" with lush tone and ardency.
(Susan Larson in The Boston Globe)

La Bohème, Musetta: "A superb performance." ...San Antonio Express News
Faust, Marguerite: "She sang ravishingly and brought an unusual sensual element to the part." ...Opera News
La Traviata, Violetta: "Miss Gray sang beautifully, and gave a touching portrayal of the doomed courtesan." ...The New York Daily News
Le Nozze di Figaro, Countess: "Gray's regal and sunny tones created a beautiful countess- her instrument favored the open creamy vowel sounds of the text." ...The Berkshire Eagle

Lorraine Hunt Liberson is a singer whose voice always sounds utterly secure, and yet after every song she seems to be laughing in pleasure and surprise that it worked again. On Tuesdsay night it worked again five times over as she went through a selection of demanding Handel arias-every one a showstopper-with Orpheus at Carnegie Hall.

In "Scherza infida" from Ariodante, she projected characteristic warm tones and firm, long phrases. Her fourth aria, "Dopo notte" from Ariodante again, pushed her right to the limits of its range, its sudden high emphasis and its long runs of 16th notes. It was a challenge, and it sounded like one. But it brought down the house.
(Paul Griffiths in The New York Times)

Copyright © 2019 Herbert Burtis—All Rights Reserved
You can e-mail Mr. Burtis and Alberti Productions at roodhill@verizon.net

Copyright © 2019 North Star Data