Nh Chris Herbert Does It Again
In the news
" Herbert'southward management shows his feel as a baritone and regular collaborator with these vocalists. Tempos and phrasing e'er respect the music's intimacy and sense of reverence, and the quartet's blend and sense of balance impress even when the lines have some quirky turns. A 16-infinitesimal, multi-exclusive motet offers greater melodic diversity and some solo monody, which is also a chance to hear the private voices.... From a strictly musical perspective, these works may seem overly uniform or static. Still they were to a higher place all a vehicle of worship for securely pious amateurs. This music represents a discrete style from a distinctive fourth dimension in America'south youth. Herbert'due south extensive research and engaged song management aslope his colleagues' artistry brand a existent experience out of this historical discovery."
Andrew J. Sammut, Early Music America , Feb 2021
"Though the fabric was written two-and-a-one-half centuries agone, temporal distance is erased by the clarity of the production and the performances. Only as Herbert updated the original manuscripts to modern notation, and then too do the vocalists reanimate the material. Abetting that, of course, is the fact that a cappella material sounds as pure when performed today as it would take in the 1700s. Close your eyes equally the recording plays and yous might well imagine yourself in the Meetinghouse equally part of the audition hearing the hymns delivered by the Ephrata Cloister's singers themselves."
textura , December 2020
"The terminal track, "Formier, Mein Töpffer," is both emotional and direct. Written past Sister Föben (Christianna Lassle) the chord voicings are placed in the verbal sweetness spot for each register, creating a shining jewel of song music, and a commemoration of early female composers/vocalists, as well as their creative vision, which is more than than timely."
Lesley Mitchell-Clarke, The Whole Note , December 2020
"...this enchanting disc collects 11 a capella hymns, some of them written by the earliest known female composers in America. The source of these pieces, the Ephrata Codex, can be inspected on the Library of Congress website. Do take a look – it's exquisite. That these performances were recorded in the room for which they were written adds an extra frisson, with four singers, led by musicologist and manager Christopher Dylan Herbert, bringing the past to bright life. The language is accessible, the harmonies unfussy, the hymns sung with a wide-eyed enthusiasm and attention to item that's securely moving. Voices in the Wilderness is a delight, a quietly revelatory human activity of musical archæology. Buy the CD instead of the download: information technology's beautifully designed and packaged, with full texts and translations."
Graham Rickson, theartsdesk.com , October 2020
"At the distant other cease of the telescope is music by the beginning known women composers in America, from the Ephrata Cloister Meetinghouse near Lancaster, Pennsylvania. They're heard in the upcoming Voices in the Wilderness on the Bright Shiny Things label, having been excavated from the 1746 Ephrata Codex in the Library of Congress past baritone / musicologist Christopher Dylan Herbert (best known equally a member of New York Polyphony). No longer are recordings only about exposure. Time and once more, current composers talk about how the cognitive understanding of their music seems to burgeon once a recording is out at that place in the ethers."
David Patrick Stearns, WQXR , October 2020
" Chris Herbert was in a hurry. The vocalist and musicologist was studying the Ephrata Codex — an 18th century music manuscript — in the Library of Congress, which meant he was on the clock. Herbert was working on digitizing the Codex... he saw names written in small font abreast the musical compositions. Three of those names belonged to women: Sister Föben, Sister Katura and Sister Hanna.... He deduced that these names indicated authorship. After continuing his research, Herbert could non find whatsoever evidence of compositions that predate the ones composed by the sisters listed in the Ephrata Codex, making them the kickoff known female composers in America."
Avery Keatley, NPR Morning Edition , July 2020
"Der Bariton von Herbert ist dafür die ideale Besetzung. Er besitzt eine in allen Lagen frei strömende Stimme, mit der er aufwallende Emotionen ebenso souverän gestaltet wie ein leise schwebendes Schwingen des Klangs.""The baritone of Herbert is the ideal casting for this. He possesses a costless-flowing voice in all situations, with which he shapes emotions besides as a quiet, hovering sound."
Claus-Ulrich Heinke, Hildesheimer Allgemeine , Nov 2019
Rob Davidson, photo
"...Christopher Dylan Herbert, a baritone gifted with dramatic nuance and, when needed, hilariously deadpan delivery."
Joshua Barone, The New York Times , October 2019
" Christopher Dylan Herbert was the standout of the evening, with an incandescent lyric baritone that injected life into Lash's score. Herbert proved very good at shaping Lash'due south phrases, endowing them with emotion and intention. Where his fellow singers seemed unsure of how to navigate the opera's more than idiosyncratic lines, Herbert brought a kind of downwardly-to-world clarity, aided by acute articulation and a pure, bright sound."
Callum John Blackmore, Parterre Box , October 2019
" Christopher Dylan Herbert filled his sweet voice with a surging sense of bewilderment and discomfort."
Emery Kerekes, Classical Music Geek , October 2019
"Baritone Christopher Dylan Herbert sounded mellifluous and personified a solid, stolid Homo 2 (the lover)"
Susan Brodie, Classical Voice North America , Oct 2019
"The dry out and frustrated Homo 2, whose bed is not the answer to desire, is effectively sung by baritone Christopher Dylan Herbert."
Susan Hill, Concertonet.com , October 2019
Photo by Kate Fry
" Mr. Herbert'due south baritone properly conveyed Human being 2's aggression (he's clearly threatened by the Woman's artistic independence)..."
Heidi Waleson, The Wall Street Journal , October 2019
"Baritone soloist Christopher Dylan Herbert shouldered the largest musical load of whatever of the soloists, and did then with grace and accuracy. His "Estuans interius" was specially noteworthy, his passionate high range non buckling under the emotional weight of the movement. "
Emery Kerekes, The Classical Music Geek , June 2019
"...baritone Christopher Dylan Herbert sang the original Schubert with ultimate clarity and intimacy."
Alyssa Kayser-Hirsh, I Care If You Listen , June 2019
"...baritone Christopher Dylan Herbert was the best of them. I take to say his face, voice, and name were a lilliputian familiar - - information technology turns out I had been to a recital he did at Juilliard in September 2017. He's a wonderful singer."
DivaMensch blog , March 2019
"The cast for "Trouble In Tahiti"—Alexandra Silber, soprano; Nathan Gunn, baritone; Ellie Fishman, soprano; William Ferguson, tenor; and Christopher Dylan Herbert, baritone—was elevation notch and the interim well above par."
David Noel Edwards, The Berkshire Edge , July 2018
"...Herbert was quite moving in 'A Simple Song' from Mass."
David M. Rice, Classical Source , July 2018
"American songs and spirituals came to the fore with baritone Christopher Dylan Herbert taking on offerings from Copland and Bernstein, accompanied by pianist Gilbert Kalish... Herbert caught the feeling in each of them and although in that location was no written programme, his diction was clear enough to hear every give-and-take. Kalish, with decades of experience backside him, is an case to anyone accompanying a singer. He was both support to and exactly together with Herbert in terms of dynamics, expression and each note."
Phillipa Kiraly, The Sun Intermission, February 2018
"Baritone Christopher Herbert gave a brilliant performance of "Winterreise" in Saratoga's Spa Land Park – outdoors, in the snow, clad in duffel coat, boots, and watch cap... it was articulate from the get-go that Herbert is a master of this material. Singing to a grouping standing a few anxiety abroad is dissimilar from performing in a concert hall, and Herbert modulated his vocalization accordingly, giving a feeling of intimacy in this nigh-open space."
B.A. Nilsson, The Alt , February 2017
Photo by B.A. Nilsson
" Mr. Herbert took his audience downwardly this dark path, achieving impressive high notes and simulated hope in "Die Postal service" equally a winter sun winked and glimmered overhead."
Paul J. Pelkonen, Superconductor , December 2016
Photo by Jessica Singer
"...Mr. Herbert's sonorous vox fabricated for pretty listening..."
Teddy Wayne, The New York Times , December 2016
"...bass Christopher Dylan Herbert leaped into tenor territory for a wonderfully unhinged 'G shalt pause them.'"
Handel's Messiah
Joshua Kosman, San Francisco Chronicle , Dec 2016
"But equally the second half airtight in on Don Quixote's death, New York Polyphony baritone Christopher Dylan Herbert sang an anonymous romance with elegant mastery."
David Patrick Stearns, Philadelphia Inquirer , October 2016
"All five men in her life were played by baritone Christopher Herbert. He showed a kaleidoscope of dissimilar song colors as he switched between 5 different roles... (The Whole Truth)
...Although he was reduced to playing only one character in this show, Mr. Herbert proved his strength equally a dramatic baritone. He was at turns eerily calm and raving as the murderous Montresor. (The Cask of Amontillado)"
Paul Pelkonen, Superconductor , January 2016
Photo by Brandon Blinderman
"Notable amongst the vocal soloists were the soprano Sarah Brailey, the alto Luthien Brackett and the basses Christopher Herbert, Jonathan Woody and Dashon Burton."
James R. Oestreich, The New York Times , Jan 2016
" Mr. Herbert is a very special artist, bringing to the work some rather intense scholarship and a deep agreement of the text. He has a reserved stage presence, economic of gesture only generous with vocal shadings. His German is excellent with no consonant slurred over, withal without overly punctilious pronunciation. His musicianship and phrasing leave nada to be desired. His lyric baritone is warm and pleasing to the ear."
Meche Kroop, Voce di Meche , January 2016
Photo past Tony Gale
"Equally Pelléas, Christopher Dylan Herbert sang with a bright, clear baritone, matching Cardona's physical abandon."
Andreas Hager, Opera Today , Oct 2015
"The compelling baritone Christopher Dylan Herbert shone as the prince Pelléas..."
Meche Kroop, Voce di Meche , Oct 2015
"The song music stood out. Herbert sang the Pilgrim's Vocal, with string quartet, and Horner-Kwiatek sang Es sang vor langen Jahren and My Center's in the Highlands. Both singers projected easily into the hall, and their articulate, direct and shining voices were perfect for the music's aesthetics."
George Grella, New York Classical Review , September 2015
"Rich-voiced baritone Christopher Dylan Herbert equally the Pharisee seemed born to sing in Italian. "
Jon Sobel, Blogcritics , Apr 2015
" Christopher Herbert (the Pharisee) is a fine Bizarre vocalizer who brought subtlety and nuance to his office."
Jean Ballard Terepka, Theaterscene.net , Apr 2015
" Christopher Dylan Herbert's rex — jealous and touchy from the get-go and starkly raving before long enough — evoked Sergei Eisenstein'south cinematic Ivan the Terrible, Nikolai Cherkassov, in both the affecting-but-almost-over-the-top-suffering and the youthful, vigorous skilful looks"
David Shengold, Opera News , March 2015
" Christopher Dylan Herbert, a baritone and a doctoral fellow at Juilliard, heard recently equally the title graphic symbol in a splendid staging of Handel'south Saul, gave a sterling operation, which seemed all the more expressive for its intense restraint."
James R. Oestreich, The New York Times , January 2015
" Christopher Dylan Herbert, a baritone as Saul, was also everywhere eloquent and convincing."
James R. Oestreich, The New York Times , Jan 2015
"The title role was sung by barihunk Christopher Dylan Herbert, who possesses ane of the almost eloquent and richly cute baritone voices in the business."
Barihunks , Jan 2015
"...Christopher Dylan Herbert, an actor of imposing utterance and commanding forehead, stalking most the stage in agonized and murderous silence during ritornellos. Information technology was non easy to take your eyes off him, and we were all startled (specially if we knew the Bible or the libretto, in which no such event occurs) when, on Jonathan's defying his command to murder David, he slowly strangled his son before our optics then, clutching the body, wept, silently... Herbert'southward vocalism is pleasant and well trained."
John Yohalem, Parterre Box , Jan 2015
"Baritone Christopher Herbert provided dramatic singing in both the cantatas and Magnificat, with his interpretation of Herod in Part 6 of the Oratorio laden with a fleck of sarcasm, and the "Quia Fecit" aria of the Magnificat sufficiently regal."
Nancy Plum, Princeton Boondocks Topics , December 2014
"Avec cet irrésistible mélange de décontraction et de professionnalisme « made in Usa » que l'on retrouve avec joie chez maints artistes américains, Christopher Dylan Herbert s'est adressé à l'auditoire dans united nations français délicieux, pour introduire les bis de rigueur.Après avoir assuré que ses camarades et lui-même aimaient « bien beaucoup » chanter en France – c'était à Saint-Père leur deuxième prestation hexagonale –, le baryton à la prestance de star de cinéma a signalé avec humour et naturel la présence d'un stand, sur le parvis de fifty'église, proposant les CD de New York Polyphony, sans oublier d'annoncer la sortie toute proche de leur nouvel enregistrement, un florilège de chants de Noël…"
"With an irresistible combination of informality and "Made in the United states" professionalism, Christopher Dylan Herbert addressed the audience in delicious French to introduce the encores.
After having assured u.s.a. that he and his beau performers profoundly enjoyed singing in France (this was their second advent in France), the baritone, with the natural stage presence of a movie star humorously discussed New York Polyphony'due south CDs without forgetting to denote their latest release, an anthology of Christmas carols..."
Emanuelle Giuliani, La Croix , August 2014
" Christopher Dylan Herbert climbed well into the higher register of the duet."
Nancy Plum, Princeton Town Topics , May 2014
"Handsome, slender Christopher Herbert is physically all wrong for the ugly giant Polypheme. Fortunately, he's a terrific histrion and an exemplary singer, and his resonant baritone is perfect for 'O ruddier than the crimson.' He made the villain funny and scary at the same time, as he should exist."
Jim Ruggirello, Long Beach Gazette , Feb 2014
Photo by Noah Stern Weber. Used courtesy of Image Festival.
" Christopher Dylan Herbert gave a searing operation in the title role, minutely finessing the vibrato in his bright baritone to suggest Watson's encroaching panic."
James Jorden, New York Observer , January 2014
"In 'The War Reporter,' Christopher Herbert (baritone) plays Paul Watson, the real-life Pulitzer Prize-winning photojournalist, who is haunted past the ghost of the dead American soldier whose photograph he snaps every bit information technology is dragged indifferently through the streets of Mogadishu. Herbert gives a charged performance (most convincing in his dashing tinted Ray-Ban's) that travels betwixt moods of strict personal severity to those of extreme vulnerability, line-fishing into a lake of guilt that endlessly drags him downwardly. The audition, I'm certain, held onto every syllable in the distressing aria he offers to his therapist (Hughes) about his ain father's experience every bit a soldier—both an acknowledgement of Herbert's talent but as well the librettist'south succinctly simple, nevertheless jarring, story-inside-a-story verse."
Daniele Sahr, Seen and Heard International , Jan 2014
"Strong performances also came from baritone Christopher Herbert, who offered a total and resonant tone in dual roles as the Christian kings Pendragon and Uterpendragon."
Aaron Keebaugh, Boston Classical Review , June 2013
"Baritone Christopher Dylan Herbert owned the function of Watson, singing in beautiful defiance of the capacity of a single human being breath. Herbert sang through ends of phrases with seemingly infinite decrescendos, setting the listener adrift in the fog of his character's mind. When a single musical instrument continues this thread of sound, information technology feels... as if time stands still."
Heather Heise, NewMusicBox , April 2013
"The protagonist, Paul, was sung by the vibrant baritone Christopher Dylan Herbert... the psychological drama of Paul's traumatized conscience locked in a stifling cover with the ghost of Sergeant Cleveland."
Corinna da Fonseca-Wollheim, The New York Times , Apr 2013
"Baritone Christopher Dylan Herbert brought nuance to the complex character of Paul. Herbert shone during exchanges with other singers, particularly during Paul's heart-wrenching telephone conversation with Cleveland'due south blood brother (sung marvelously by bass Craig Phillips). Their ears glued to telephone receivers, insufficient of eye contact and physical interaction, the 2 gave a operation that crackled with tension."
Dana Wen, I Care If You Listen , Apr 2013
Photo by Noah Stern Weber. Used courtesy of PROTOTYPE Festival.
"New York Polyphony baritone Christopher Dylan Herbert sang with nuance every bit [Paul] Watson."
Georgia Rowe, San Jose Mercury News , April 2013
"Only lack of snow kept information technology from being the ideal scene for the baritone Christopher Dylan Herbert's brave and, in all senses, chilling outdoor performance of Schubert'southward "Winterreise"...he gave an elegantly lean performance that would have been impressive in any context but was remarkable nether these conditions...The static of the radios, similar surface noise from an old LP, added to the melancholy, as did the juxtaposition of their scratchy faintness and Mr. Herbert's hearty nevertheless poignantly isolated presence. Near the end of the cycle, in front of a withal fountain, he flung out the final discussion of "Der Wegweiser" with a quiet disgust that was startling, given the functioning's intimacy. You accept non truly experienced "Winterreise" until you have stood 3 or 4 feet from the vocalizer, his breath visible in the cold."
Zachary Woolfe, The New York Times , December 2012
Photo by Joanne Bouknight
"A remarkably refined account."
Alex Ross, The Rest Is Noise , Dec 2012
"Although singing in the cold, Mr. Herbert proved to have a rich, theatrical baritone that had no difficulty beingness heard in this outdoor setting. He projected the emotions behind this descent into madness, capturing the irony of the cycle'south more fantastical moments and the cocky-flagellating graphic symbol of Schubert'south protagonist. From the steady tramp of "Gute Nacht" through the manic determination of later on songs like Mut, this was a consequent, and sometimes harrowing performance. He managed the wide spectrum of sounds, even floating a lovely "head vocalisation" in the more than difficult passages of Die Nebensonnen and the haunting despair of Der Leiermann."
Paul J. Pelkonen, Superconductor , December 2012
" Christopher Dylan Herbert gave us a lovely set by Korngold and made vocal gold out of Roussel's "Le Jardin Mouille", Auric'due south "Le Gloxinia", and Faure's setting of a Victor Hugo poem "Puisqu'ici-bas toute ame". Maestro Bagwell himself was the piano partner and played with his customary sensitivity and delicacy, always supporting the singer; indeed they seemed to exhale together."
Meche Kroop, The Opera Insider , May 2011
"Once more [Christopher Herbert] delivers a performance of incredible depth and beauty of tone."
Barihunks , February, 2011
" Christopher Dylan Herbert communicated every nuance of ix songs selected from Schubert's "Die Winterreise". His youthful and plangent baritone brought out every colour—irony, sadness, bitterness, anger, despair and defoliation. His German diction was so clear that I understood every discussion. Translations non necessary! I just want to hear Mr. Herbert sing the entire bike. I am There! I have heard it said that this wheel needs to be performed by someone older and more experienced but I beg to differ. Only a youngster would experience such intense experience from what seems to exist the loss of a kickoff honey. And Mr. Herbert's voice has that youthful bloom, especially when he uses his caput voice in the offset pianissimo. As the winter voyage continues, his vocalization deepens a bit every bit acrimony and despair have over. It seemed equally if Mr. Herbert were telling his ain story; now that's performing!"
Meche Kroop, The Opera Insider , December 2010
"In that function [Henrik], baritone Christopher Dylan Herbert sang exceptionally well, and his repressed, edgy characterization was but right."
Judith Malafronte, Opera News , August, 2010
" Christopher Dylan Herbert was a splendidly neurotic twit as Henrik Egerman…"
Scott Cantrell, Dallas Forenoon News , June 20, 2010
"Although dashing Christopher Herbert as the young son Henrik is a baritone, he negotiated the loftier flying tenorial phrases very winningly, and found a sweet core of heartsickness to temper his outward insufferability."
James Sohre, Opera Today , June 21, 2010
" Christopher Herbert, equally Albert'due south buddy Sid, took top marks for clarity of text. The baritone also produced a consistently warm sound, phrased colorfully and used his natural theatrical skills to slap-up advantage."
Tim Smith, Baltimore Sunday , May 4, 2009
"…the operatic grooming was abundantly articulate, the poise consummate…Christopher Herbert was easy on the ears with a solid, honest sound."
Peter Dobrin, Philadelphia Inquirer , August 22, 2008
"Samuel Barber'south setting of Mathew Arnold'due south 'Dover Embankment,' was presented with the proper melancholic stateliness by baritone Christopher Herbert, backed by a string quartet."
Charles Donelan, The Santa Barbara Independent , Baronial 21, 2008
" Christopher Herbert'southward Pluto came closest to the marker with his polish baritone and colorful styling."
Tim Smith, Baltimore Sun , April xiv, 2008
"Put a star next to the promising voice of Christopher Herbert's Pluto."
Charles T. Downey, Ionarts , Apr thirteen, 2008
"Baritone Christopher Herbert performed heroically with Orff's cruelly loftier tessitura and sang with impeccable diction."
Robert Levine, Classics Today , May 15, 2007
"Talent-rich Christopher Herbert gives the operetta a crazy buoyancy"
Thomas Harrison, The Mobile Press-Register , Oct. 26, 2006
"The combination of song and interpretive skills in the work of several was outstanding. Baritone Christopher Herbert proved versatile, moving from gusto in a comic dialogue to the restrained dignity of 'Elegy for JFK'."
Richard Dyer, The Boston Globe , Baronial sixteen, 2005
"The Tanglewood young man Christopher Herbert more than than held [his] own vocally and delivered [his] material with a freshness, spontaneity, and amuse."
Richard Dyer, The Boston Globe , July 22, 2005
Source: http://www.christopherdylanherbert.com/in-the-news
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