“In their enjoyment of Beethoven’s masterpiece, the audience — which included the tourist buses stopping on St. James Avenue — embodied the brotherhood of Friedrich Schiller’s text.”
Handel and Haydn takes Beethoven’s Ninth outdoors
The Boston Globe (Jeffrey Gantz), 7/28/15

“For her H&H work, a co-commission with the Library of Congress, Frank set lines taken from Ralph Waldo Emerson’s ‘Boston Hymn’ … The music is taut and involving, with angular lines and pungent, darkly colored harmonies … The diction of the H&H chorus was so vivid as to render the printed text almost unnecessary, and an excellent quintet of H&H string players gave the work an incisive, vigorous first performance.”
H&H caps bicentennial with Frank premiere
The Boston Globe (Jeremy Eichler), 5/19/15

“Opulent tone, nimbly deployed, gave a transparent texture that allowed the detailed counterpoint to speak. … Tempos were fleet, bordering on daring, especially in the final triple meter section (not many ensembles could make such a brisk tempo work effectively!) … In short, when this motet ended, I and many of the choral professionals in the audience wanted to hear it again.”
Handel and Haydn Sings to Choral Pros
The Boston Musical Intelligencer (Joshua Nannestad), 6/21/15

Haydn’s “Creation” in Transcendental Boston
The Boston Musical Intelligencer (Wesley T. Mott), 4/27/15

Aisslinn Nosky: Toronto’s Eric Clapton on the Violin
Toronto Star (Bill Littman), 4/24/15

Handel and Haydn Society Gala
Boston Common, 4/23/15

Party lines: Society Ball Bicentennial Gala
The Boston Globe (Bill Brett), 4/22/15

Handel and Haydn Society has a birthday ball worthy of its 200th
The Boston Globe (Meredith Goldstein), 4/20/15

“The cumulative power of the work – Bach’s, and Christophers’, and the musicians’ in service to Bach – was thrilling; the final magnificent chorus  was an affirmation of Bach, the achievements and identity of the Handel + Haydn Society, and the desire of the Boston audience to hear both.”
Handel and Haydn Society: Bach’s ‘St. Matthew Passion’
Theaterscene.net (Jean Ballard Terepka)
, 4/7/15

“The trial, degradation and crucifixion of Jesus seems like an unlikely subject for the happy occasion of a bicentennial birthday concert. Nevertheless, Boston’s Handel and Haydn Society, fondly known and H+H, did exactly that with a magnificent performance of Bach’s St. Matthew Passion on March 27.”
Whole Lotta Passion
Theaterjones.com (Gregory Isaacs), 4/2/15

“The exhibition gives a very good sense of the role H+H played in the development of classical music traditions in Boston and in the nation.”
Handel and Haydn Exhibit Provides 200-Year Overview
Classical Voice North America (Marvin J. Ward), 4/2/15

“The band was terrific, embodying the best of historically informed performance.”
Ample Passion Animates Bach For H+H Bicentennial
Classical Voice North America (Sarah Bryan Miller), 4/2/15

“Christophers paced the narrative splendidly, linking movements into a chain of dramatic arcs that moved the story along…”
On the Road: Boston’s Handel & Haydn Society celebrates its 200th year with Bach’s Matthew-Passion
Cleveland Classical (Daniel Hathaway), 3/31/15

“The Handel and Haydn Society celebrated its 200th anniversary with an intense and moving performance of Bach’s “St. Matthew Passion” before a full house at Symphony Hall…”
H+H delivers mesmerizing performance of Bach’s “St. Matthew Passion”
Facts & Arts (James Bash), 3/29/15

“Christophers succeeded in a light-footed but dramatic reading. … Christophers drew a remarkable range of responses from the double choir.”
At Handel and Haydn, “St. Matthew Passion” sings
The Boston Globe (Jeffrey Gantz), 3/29/15

“All of the performances of these sublime movements were stunning, holding the audience enraptured and breathless.”
Handel, Haydn, Bach, Matthew
The Boston Musical Intelligencer (Marvin J. Ward), 3/28/15

“Christophers and company brought Bach’s mesmerizing score to life, the H+H chorus and period instrument orchestra making the work’s earthy drama palpable and thoroughly enticing. There may be no more effective and colorful conductor for this repertoire than Christophers, and throughout this churning and complex score he showed a fine command for shaping the musical line.”
Christophers leads H+H in mesmerizing account of “St. Matthew Passion”
Boston Classical Review (Aaron Keebaugh), 3/28/15

H+H Exhibits its Wares on Anniversary Day
The Boston Musical Intelligencer (Elisa Birdseye), 3/26/15

Jared Bowen Recommends
WGBH (Jared Bowen), 3/26/15

Happy Birthday, Handel and Haydn Society!
Musicology Now (Teresa M. Neff), 3/24/15

Musical societies: 200 years of oratorios
The Economist.com (Joan Tapper), 3/23/15

Keeping classical cool: Oldest US arts group turns 200
Associated Press (William J. Kole), 3/21/15

“Aisslinn Nosky makes classical music cool.”
Boston’s Vibrant Violinist
Boston Spirit Magazine (Loren King), March/April 2015

“The Handel and Haydn Society gave ‘Elijah’ its American premiere in 1848, and if that performance matched the one I heard Friday under guest conductor Grant Llewellyn, it would have been very good… Llewellyn’s approach tends to be stately, but Friday he elicited drama as well as majesty.”
A majestic, dramatic “Elijah”
The Boston Globe (Jeffrey Gantz), 3/8/15

“The dangerously impressive performance transformed me.”
H+H “Elijah” Gets Me Hence
The Boston Musical Intelligencer (Samuel Kjellberg), 3/7/15

Llewellyn comes to Handel and Haydn for “Elijah”
The Boston Globe (David Weininger), 3/6/15

“All signs indicate that H+H has no intention of allowing dust to accrue, even while continuing to illuminate a treasured canon.”
H+H: 200 & Counting
EMAg (Donald Rosenberg), Spring 2015

“The Handel and Haydn Society”
Open Studio with Jared Bowen (WGBH), 2/27/15

“Certainly Egarr has a way with the Handel and Haydn players that no one else seems quite able to match; under his inspired touch, the orchestra reliably pulls together into a gleaming period-music machine.”
Breathtaking Beethoven and immature Mozart from Egarr and H+H
The Hub Review (Tom Garvey), 2/21/15

“Egarr kept the momentum going through changes in mood, tempo, and scoring as multiple sections followed one another in rapid succession. As his preliminary remarks demonstrated, he clearly enjoyed the dramatic and lyric aspects of Mozart’s first Mass just as he reveled in the humor and virtuosity of Beethoven’s symphonic debut. And the audience caught on…”
200-Year-Old Organization Accents Youth
Boston Musical Intelligencer (Virginia Newes), 2/15/15

“Plenty of musicians talk about reinvigorating familiar works; this performance — the product of a marvelously precise orchestra and a conductor willing to make creative use of it — was the rare outing that achieved it.”
Powerful Early Works at Handel and Haydn
The Boston Globe (David Weininger), 2/14/15

Handel and Haydn Society Celebrates Bicentennial
The Patriot Ledger (Jody Feinberg), 2/12/15

Handel and Haydn Society Leader to Become St. Louis Symphony CEO
The Boston Globe (Jeremy Eichler), 2/11/15

“[Aisslinn Nosky] is a musician of tremendous skill, with a warm, often witty tone. As she showed in the Adagio-Allegro that opened the first piece, Haydn’s 7th Symphony ‘Le Midi,’ her sharp intelligence can animate the most formulaic and rapid of passages.”
In Review: The Handel and Haydn Society’s All-Haydn Program
The New Criterion (Dominic Green), 1/28/15

“If anything, the sequel [to 2013’s Haydn in Paris] was even better than the original.”
Handel and Haydn Society’s all Haydn program has some fun
The Boston Globe (Jeffrey Gantz), 1/26/15

“Nosky was both conductor and soloist, directing the orchestra with eye-glances, expressive head-tilts, and moving dance-like in her place. She played with a tone and expression that was nimble, sweet and singing, and not at all dominating; playing in front of a quite small ensemble, she disappeared in and out of the fabric of sound at will.”
Haydn, the Experimentalist Without Haydn
Boston Musical Intelligencer (Brian Schuth), 1/24/15

“Christophers conducted with a firm sense of the music’s theatricality, taking time to shape phrases through various shades of dynamics and occasional accents. The orchestra, following his every move, delivered playing of stirring energy.”
Haydn in plain sight with Christophers and H+H
Boston Classical Review (Aaron Keebaugh), 1/24/15

200 Years and Counting
Symphony Magazine (Chester Lane), Winter 2015

Handel and Haydn Society Announces 201st Season
The Boston Globe (Jeremy Eichler), 1/19/15

“If Joseph Haydn were alive and composing these days, we reckon he’d be hobnobbing with one pixie-cut, flaming redhead concertmaster by the name of Aisslinn Nosky.”
Classical Remix: Spirited Concertmaster Aisslinn Nosky lights the candles for Handel and Haydn Society’s 200th birthday bash
Boston Common (Jessica Bowne), Dec. 2014/Jan. 2015

Jeremy Eichler’s 2014 Classical Music Picks
The Boston Globe (Jeremy Eichler), 12/27/14

“The 17-voice chorus was bright and graceful throughout. … There were no poor soloists, and the sopranos were particularly glowing.”
Handel and Haydn offers a ‘Bach Christmas’ present
The Boston Globe (Jeffrey Gantz), 12/21/14

“Jarrett proved to be a poised, efficient, yet expressive conductor, a genial presence on a happy occasion.”
Handel and Haydn Society decorates Christmas with Bach and a garland of other Baroque masters
Boston Classical Review (David Wright), 12/19/14

“Inarguably the finest Messiah of Harry Christophers’ tenure… Christophers has brought the H&H chorus to a sublime peak. In fact I’d argue there’s no finer chorale in Boston at the moment; some are larger, of course, but none can boast the interpretive subtlety and expressive precision that is now the standard at H&H.”
Messiah triumphant
The Hub Review (Tom Garvey), 12/13/14

“Violinist Aisslinn Nosky and the Handel and Haydn Society Orchestra [played] Vivaldi as though it were written last week, with more élan and love than I thought possible.”
2014 Top 20 Picks
The Huffington Post (Tony Woodcock), 12/9/14

“What distinguishes the current Handel and Haydn ‘Messiah,’ even from other intimate, period-instrument versions, is its organic unity and quiet devotion. … Both [the vocal] quartet and the chorus were direct and expressive in the way that period instruments are direct and expressive. Perhaps that’s the secret of Handel and Haydn’s current ‘Messiah.'”
Handel and Haydn’s meaningful “Messiah”
The Boston Globe (Jeffrey Gantz), 12/1/14

“[Christophers’] reading of ‘Messiah’ Friday night at Symphony Hall was characteristically fresh, sparkling in delivery, and thoroughly exciting in effect, a performance that proved a marvelous opening for the holiday season.”
Even with its long ‘Messiah’ tradition, H&H delivers fresh and thrilling Handel
Boston Classical Review (Aaron Keebaugh), 11/29/14

A “Messiah” View from the Top of the Cleff
Boston Musical Intelligencer (Benjamin Pesetsky), 11/28/14

Disk-and-Cover-Presentation-Mock-up (1)“This CD release of Handel’s ‘Messiah’ gives an accurate picture of what artistic director Harry Christophers and the Handel and Haydn Society Period Instrument Orchestra and Chorus have been offering over the past few years. Which is to say, all the virtues of the fluid modern style of doing Handel, and almost none of the drawbacks.”
CD Review of H+H’s Handel Messiah: Music Gift Guide Holiday Edition
The Boston Globe (Jeffrey Gantz), 11/26/14

“The classic oratorio was first presented by the Handel and Haydn Society in 1815, with tickets costing $1. You’ll pay a little more today ($25 and up), but the performances promise to help you start the season right.”
Your Week Ahead: 5 Things to Do in Boston Nov. 24-30
The Boston Globe Magazine, 11/23/14

“If you’ve never seen Handel and Haydn Society perform live, then Christmas is the time to do so.”
Holiday Preview: Dashing through the Shows
The Patriot Ledger (Dana Barbuto), 11/19/14

Holiday Arts Preview: Classical Sounds of the Holidays
Metrowest Daily News (Keith Powers), 11/19/14

“Harry Christophers, the society’s artistic director since 2008 and a noted early-music specialist, draws an appropriate litheness from chorus and orchestra.”
CD Review of H+H’s Handel Messiah
The New York Times (James Oestreich), 11/19/14

“We should be grateful, though, that we have organizations such as H+H and the powerful direction of Aisslinn and Harry Christophers. Music making such as we heard on Halloween can only result in an increased appetite for such experiences and perhaps to further development of the movement. Let’s hope so.”
The Struggle of Harmony and Invention
The Huffington Post (Tony Woodcock), 11/6/14

“The players reflected the title [L’estro armonico] in their precise coordination and nearly flawless intonation throughout an evening of spectacular showpieces.”
Diabolical Trills and Other Trickery

Boston Musical Intelligencer (David Schulenberg), 11/1/14

“But you’d never have guessed its age from the way the Society kicked up its heels last weekend – indeed, it often seemed as spry as a newborn.”
H+H Rocks its 200th
The Hub Review (Tom Garvey), 10/18/14

Handel and Haydn Society Announce $9 Million in Gifts
Philanthropy News Digest, 10/18/14

“The mighty choruses jump out at you, and tempos are lively and the slower-paced arias sing. We should never get so buried in scholarship that we lose sight of how exciting this music is, even after hundreds of years. They deliver that excitement, and the applause shows how the audience loved it.”
CD Review of H+H’s Handel Messiah
The Buffalo News (Mary Kunz Goodman), 10/16/14

“The orchestral selection that fared best was ‘Summer’ from Vivaldi’s ‘Four Seasons,’ with the H+H strings turning in a vividly pictorial and palpably committed reading led by concertmaster Aisslinn Nosky, whose exploratory account of the solo line had enough charisma and flair to earn the group a spontaneous midconcert ovation of an intensity that seemed to surprise even Nosky herself.”
At Handel and Haydn, festive ‘Fireworks’ for a bicentenary
The Boston Globe (Jeremy Eichler), 10/13/14

“H+H Embarking on New Capital Campaign”
The Boston Globe (Jeremy Eichler) 10/11/14

“The high of a thrilling launch isn’t easy to follow. But you have to believe in the Handel and Haydn Society of Boston. They’ve had 200 years to get it right.”
Handel and Haydn launches 200th anniversary season with Baroque splendor
The Boston Classical Review (David Wright), 10/11/14

“After 200 Years, the Handel and Haydn Society is Still Looking for New Challenges”
The Boston Classical Review (Aaron Keebaugh), 10/8/14

“The Handel and Haydn Society today stands on the shoulders of its first two centuries. Its history is a landmark for all of Boston.”
Handel and Haydn Society at 200
The Boston Globe (Jeremy Eichler), 10/4/14

Handel and Haydn’s Bernard Celebrates Society’s Success
The Boston Globe (David Weininger), 10/4/14

Christopher Hogwood, Early-Music Devotee, Dies at 73
The New York Times (Vivian Schweitzer), 9/26/14

Fall Arts Preview: Celebrating Boston’s Long History of Music
Metrowest Daily News (Keith Powers), 9/11/14

New Relationships Enhance Gardner’s Music Series
The Boston Globe (David Weininger), 8/1/14

“The august ensemble approaches its bicentennial season in peak shape, with an artistic director, Harry Christophers, who understands that early music should be not just ‘authentic’ but also, you know, musical.”

Boston Magazine (Best of Boston® Issue), August 2014

200 Years and Counting with Handel and Haydn Society
Where Magazine (Cheryl Fenton), 7/18/14

Handel and Haydn Society Partners with Local Schools
The Boston Globe (James H. Burnett III), 6/22/14

Schütz provides a memorial suited to an enlightened noble
The Boston Globe (Matthew Guerrieri), 5/31/14

“Under music director Harry Christophers — in charge for the last five years — the chorus is absolutely top notch. Despite wonderful performances from two of the soloists — soprano Joelle Harvey as Dalila and a Philistine Woman, and bass-baritone Matthew Brook as Samson’s father Manoah — the chorus deservedly won the greatest cheers.”
Gay City News (David Shengold), 5/28/14
“Artistic Director Harry Christophers led this revival [of “Samson”] with idiomatic fervor in a performance that was as complete and compelling as that brought to us by Craig Smith some twenty years ago with Emmanuel Music.”
Opera con brio (Richard Beams), 5/27/14
“Mozart’s fleshed-out orchestrations and spiced up arrangements gave plenty of opportunities to show off the Handel and Haydn Society orchestra’s beautifully balanced strings, crisp attacks, and fine wind playing. … Eighteen members of the Handel and Haydn Society Chorus made an admirable sound, with incisive, clear diction and lovely balance.”
Boston Musical Intelligencer (James C.S. Liu), 5/17/14
“The period-instrument orchestra (including fortepiano) performed beautifully under the direction of Nicholas McGegan. … Mozart’s orchestration was clear and transparent, even under the balcony, and the idea of having the five-part chorus perform offstage was inspired.”
Boston Classical Review (Patrick Valentino), 5/17/14
“Morris’s choreography, as always, tends to illustrate the music rather than illuminate it. … [He] teases ballet conventions, and that helps keep his motivic gestures and thematic patterns from becoming rote and repetitive over the evening’s two hours.”
The Boston Globe (Jeffrey Gantz), 5/16/14
“MMDG’s ‘Acis and Galatea’ plays on multiple channels simultaneously, with the dancers and singers on stage, the adept orchestra and chorus under the direction of long-time collaborator Nicholas McGegan (who gives the score just the lilt and propulsive swing the choreographer calls for) in the pit…”
The Arts Fuse (Debra Cash), 5/16/14
“Nicholas McGegan led the Handel and Haydn Society Chorus and Period Instrument Orchestra in a jubilant performance.”
Examiner.com (Melanie O’Neill), 5/16/14
The Boston Globe (Karen Campbell), 5/11/14
The Patriot Ledger (Iris Fanger), 5/11/14
“A triumph…”
The Hub Review (Tom Garvey), 5/11/14
“The core of this performance was the H&H Chorus, which made a joyful noise whether singing as Israelites or Philistines. The period instrument orchestra was also in good form, especially in the Dead March following Samson’s death. The soloists … were an earnest lot.”
The Boston Globe (Jeffrey Gantz), 5/6/14
“Christophers assembled a roster of outstanding soloists for this performance and, needless to say, both chorus and orchestra were in top form. Bringing it all together, Christophers infused arias and choruses with a sense of their underlying dance rhythms and melodic continuity that enlivened the pace without hurry or exaggeration, and revealed the brilliance of Handel’s understanding of dramatic situation and character.”
The Boston Musical Intelligencer (Virginia Newes), 5/4/14
“A powerful performance… A starry cast of soloists offered an interpretation that was awash in bold colors. … With broad, expressive gestures, Christophers shaped elegant phrases from the chorus and period instrument orchestra.”
The Boston Classical Review (Aaron Keebaugh), 5/3/14
“Nosky herself was dazzling in her many quicksilver solos, and her own spritely person – in her tailored, masculine jacket she might have been a musical Peter Pan – somehow conjured a haunting connection with that of the lost youth of this charming composer.”
The Hub Review (Tom Garvey), 4/10/14
“The finale [of the Haydn] was in equal measures vehement and jocular, bringing out Nosky’s apparent penchant for kinetic leadership.”
The Boston Musical Intelligencer (Vance R. Koven), 4/8/14
“[With Mendelssohn D Minor Violin Concerto] all the more reason to appreciate that Nosky gave us the chance to hear it in a vivid performance that played up the work’s not insignificant charms.”
The Boston Globe (Jeremy Eichler), 4/7/14
“The playing was exciting and propulsive throughout, led by violinist Aisslin Nosky, who is a ball of fire. It was sensitive to the style and nuance of Baroque performance but also full of emotion.”
Portland Press Herald (Christopher Hyde), 4/6/14
“But one wonders if even the prodigious Mendelssohn and his crew tore through the music of Vivaldi and C.P.E. Bach with the combination of pinpoint accuracy and abandon displayed by the Handel and Haydn Society.”
The Boston Classical Review (David Wright), 4/6/14
The Portland Press Herald (Bob Keyes), 4/3/14
Opus Affair (blog), 4/1/14
The Pittsburgh Post-Gazette (Elizabeth Bloom), 3/22/14
Profile of Concertmaster Aisslinn Nosky
“Well played”
The Improper Bostonian (Sarah Hagman), 3/17/14
“The three Bach motets had both drama and dignity. … The remaining Byrd pieces were so beautiful, I wished there could have been more.”
“Handel and Haydn Society honors Bach and Byrd”
The Boston Globe (Jeffrey Gantz), 3/17/14
“Thanks to Harry Christophers and the Handel & Haydn singers for bringing us a varied and thoughtfully put together program, brilliantly performed.”
The Boston Musical Intelligencer (Virginia Newes), 3/16/14
“Conductor Harry Christophers then led [the chorus] directly into William Byrd’s lively motet Laudibus in sanctis, unleashing the beauty of their full sound and complete command of subtle dynamics and articulations.”
The Boston Classical Review (Stefanie Lubkowski), 3/15/14
The Bach Hour with Brian McCreath, Classical Music 99.5 WCRB, 3/9/14
“An evening whose structure perhaps never quite cohered, but which was studded with small glories.”
The Hub Review (Tom Garvey), 3/4/14
“H&H concertmaster Aisslinn Nosky held center stage, and the spry leap of the strings under her implicit baton brought a round of applause from the gallery after just the first movement.”
The Hub Review (Tom Garvey), 2/26/14
“Christophers elicited a superbly full-voiced reading from the H&H Chorus.”
The Boston Globe (Seth Herbst), 2/24/14
The Boston Classical Review (Aaron Keebaugh), 2/18/14

“H&H Announces Plans for Bicentennial Season”
The Boston Globe (Jeremy Eichler), 2/15/14

“Richard Egarr is the chatty, slyly cherubic Loki of the period scene, forever upending what you thought you knew about this or that composer or piece. …[the Coriolan Overture] was one of the most gripping performances of this particular warhorse I’ve yet heard.”
“Richard Egarr at Handel & Haydn”
The Hub Review (Tom Garvey), 2/3/14

“The Fat Lady is Still Singing”
The New Yorker’s Culture Desk blog (William Robin), 1/29/14

“Guest conductor Richard Egarr lit up Symphony Hall with superstar performances.”
“Richard Egarr warms up Symphony Hall”
The Boston Globe (Jeffrey Gantz), 1/26/14

“Egarr played his role as conductor with great energy.”
“Two-and-a-half Symphonies Plus Overture”
Boston Musical Intelligencer (David Schulenberg), 1/25/14

“Egarr, with sharp and waving gestures, drew dramatic pillars of sound from the H&H musicians.”
“Egarr leads H&H in varied program from a rare Bach to familiar Beethoven”
Boston Classical Review (Aaron Keebaugh), 1/25/14

“Spend the afternoon of Dec. 31 enjoying music and storytelling to commemorate the anniversary of the signing of the Emancipation Proclamation.”

“First Night Jubilee Concert at MAAH”
Color Magazine, 12/31/13

“The results, heard a week ago at Jordan Hall… were always lovely, and often transporting.”
“A Bach set for Christmas at H&H”
The Hub Review (Tom Garvey), 12/27/13

“Ascending voices of praise rose, contributing to a lingering warm flow that was complemented beautifully by the orchestra and chorus, leading to the subtle conclusion to this concert celebrating the Mysterium.”
“A Bach Christmas”
Stylus Fine Arts (Carolyn Gregory), 12/22/2013

“Metcalfe’s all-German ‘Bach Christmas’ program was as intriguing as it was inspired. … From the zippy triple time of Scheidt’s “Puer natus in Bethlehem” to the spirited back-and-forth of the double choirs in Praetorius’s ‘In dulci jubilo,’ it was just one Christmas present after another.”
“Metcalfe helps Handel and Haydn unwrap its many presents”
The Boston Globe (Jeffrey Gantz), 12/22/2013

A British bloger’s positive assessment of “Joy to the World”: “Glorious stuff”
Classical CDs weekly
Theartsdesk.com (Graham Rickson), 12/21/2013

“The choir’s precise tuning, clear diction, and constant awareness of text, the instrumentalists’ virtuosity and sensitivity to the singers, and the assured and stylish direction of Scott Metcalfe made this program a joy to listen to.”
Refreshing Choices for Advent and Christmas
The Boston Musical Intelligencer (Geoffrey Wieting), 12/21/2013

“The singers did great—no matter how complicated it got, they were clear and steady and well matched.”
A Christmas Card from Handel and Haydn’s Bach family reunion
Boston Classical Review (David Wright), 12/20/2013

“One conductor, two programs, plenty of holiday spirit”
The Boston Globe (David Weininger), 12/20/2013

The NYC classical music radio designates “Joy to the World” as Album of the Week.  (Includes free download of “O Little Town of Bethlehem.”)
Handel & Haydn Society Excels in Choral Christmas Music
WQXR, 12/15/2013

“Conductor Harry Christophers ensures a British accent at times, with the 18th-century William Billings, jovial and rough, rubbing against the velvet charms of John Rutter and Herbert Howells. The singing is both tasteful and robust, and conveys a genuine community spirit.”
The best and worst Christmas classical albums
The London Times (Geoff Brown), 12/13/2013

New Classical Tracks: Christmas Celebration from Boston
Minnesota Public Radio (Julie Amacher), 12/11/2013

“Under the direction of Harry Christophers, the chorale in particular once more produced one of the most eloquent versions of this Handel classic ever to be heard in these parts…. And of course the best ‘Hallelujah Chorus’ evah.”
The story of Christ according to Christophers
The Hub Review (Tom Garvey), 12/10/2013

“This release is well worth having, especially as it offers as fine a tonal sound as I have every heard in a recording of period instruments.”
CD Review of Haydn, Vol. 1
International Record Review, Dec 2013

 “There are some surprising and beautiful arrangements on the Boston-based Handel and Haydn Society’s ‘Joy to the World – An American Christmas.'”
CD Review of “Joy to the World”
Gramophone, 12/1/2013

“Chorus is biggest gift in H&H’s offering of ‘Messiah'”
The Boston Globe (Harlow Robinson), 12/1/2013

Handel and Haydn Society Serves Up an Exciting and Expressive ‘Messiah’
The Boston Classical Review (Stefanie Lubkowski), 11/30/2013

Weekend’s Best: Preview of ‘Messiah’ performances
The Patriot Ledger (Quincy), 11/30/2013

“Polished Albeit Risk-Free ‘Messiah'”
The Boston Musical Intelligencer (David Schulenberg), 11/30/2013

Students Get a Handel on the Classics
The Daily Item (Lynn daily newspaper), 11/29/2013

Boston Accent: H&H’s Harry Christophers / Messiah Complex
Bostonguide.com (Erica Curran), 11/26/2013

CD Reviews of Joy to the World: An American Christmas and Haydn, Vol. 1
BBC Music Mag Dec 13 issue - Joy to the World Review - 1BBC Music Mag Dec 13 issue - Joy to the World Review - 2BBC Music Mag Dec 13 issue - Joy to the World Review - 1
BBC Music Magazine, Dec 2013

“Two of Haydn’s more imaginative symphonies, earlyish and lateish, receive excellent workouts from a venerable Boston institution.”
CD Review of Haydn Symphony Nos. 6 and 82; Violin Concerto in G
New York Times (James R. Oestreich), 11/20/2013

“The Handel and Haydn Society chorus, led by Harry Christophers, lives up to its history with this collection of august Christmas carols.”
“Joy to the World: An American Christmas from the Handel and Haydn Society” Rated 3.5 (out of 4 stars)
The Buffalo News, 11/17/2013

“Llewellyn, who preceded Harry Christophers in the role of H&H’s Artistic Director, clearly hasn’t lost his touch with an orchestra – nor any of his charisma at the podium. And the orchestra responded to him with a warmth and vigor that I don’t think I’ve heard from it in a while. As reunions go, this was a sweet one.”
Review of Mozart / Beethoven concert by Tom Garvey (Hub Review)
The Hub Review, 11/15/2013

“It is a big month for Boston’s preeminent early music orchestra Handel and Haydn Society, which hosts three unique holiday concerts this month. ”
A summary of H&H’s holiday programs
wheretraveler.com, 11/14/2013

“Musical evening relatable for viewers of all ages”
Review of Mozart and Beethoven in Brandeis’ student newspaper
The Justice, 11/5/2013

“A vibrant and clear rendering of the work.” (on Beethoven No. 2) “The orchestra played with supple flow.”
Boston Classical Review on Mozart and Beethoven
Boston Classical Review, 11/4/2013

“A driving, vital performance.” “A firestorm of exuberant virtuosity.”
Globe review of Mozart and Beethoven.
Boston Globe, 11/2/2013

Mayor’s Holiday Spectacular is Back! by ArtsBoston
Mention of Messiah in ArtsBoston blog post on MHS.
Boston Herald, 11/1/2013

“Give Grant Llewellyn a warm welcome when the former music director conducts the Period Instrument Orchestra of the Handel and Haydn Society for the first time since 2008.”
Mozart and Beethoven as pick for the weekend.
The Boston Globe, 10/31/2013

“…bringing some Beethoven Symphony No. 2 realness this weekend as well as Mozart Symphony No. 35 and a fabulous Haydn sinfonia led by the reigning fierce queen of H&H, concertmaster Aisslinn Nosky.”
Mozart and Beethoven @ Handel and Haydn Society
Opus Affair, 10/30/2013

Messiah announcement on Classical World.
Broadwayworld.com, 10/25/2013

“Stylish performances.”
Review of Haydn. Vol. 1.
Music Web International, 10/24/2013

“Christophers drew many moments of compelling and exquisite beauty.”
“The most accomplished chorale in town.”
Thomas Garvey’s Review of Bach Mass in B Minor
The Hub Review, 10/24/2013

“Brilliant.” “[This CD]…has it all: attention to detail, impeccable clarity, narrative sweep and, ultimately, an unstoppable life force.”
Musical Toronto review of Haydn, Vol. 1.
Musical Toronto, 10/8/2013

“Harry Christophers’ interpretation does Haydn’s inventiveness proud.”
Early Music Review for Haydn, Vol. 1.
Early Music Review, 10/8/2013

“The singing is excellent.”
Early Music Review for An American Christmas.
Early Music Review, 10/8/2013

“Full of character and exuberance.”
Review of Haydn, Vol. 1
Boston Globe, 10/5/2013

“A bravura performance.”
Review of Bach Mass in B Minor
The Fenway News, 10/5/2013

“[This CD]…has it all: attention to detail, impeccable clarity, narrative sweep and, ultimately, an unstoppable life force.”
Musical Toronto review of Haydn, Vol. 1.
Musical Toronto, 10/8/2013

“A jolly good ride.”
Review of Haydn, Vol. 1.
Classical Candor, 10/1/2013

“This concert made clear the great promise of next year’s 200th H&H anniversary and bodes extremely well for a great celebration of the oldest and perhaps most venerable choral group in the United States. Here’s to 200 more!”
Glorious Bach at Symphony Hall
Boston Musical Intelligencer, 9/29/2013

“Transfixing.” “The chorus…sang with remarkable precision and expressive intensity.”
Mass appeal: H&H Society off to strong start with Bach
The Boston Globe, 9/29/2013

Haydn, Vol. 1 as new release pick on Chicago’s WMFT radio blog.
WFMT Haydn, Vol. 1 CD Review
98.7 WFMT, 9/29/2013

“The ensemble performed with spring-water clarity.” “As the melodies layered upon one another, reaching heavenward in a peaceful conclusion, for an instant, all seemed right with the world.”
Boston Classical Review for Mass in B Minor.
Boston Classical Review, 9/28/2013

“Handel and Haydn Society and Period Instrument Orchestra Ratify New Contract thru June 2017”
Contract announcement on ClassicalWorld
ClassicalWorld, 9/27/2013

“Driven with eager vigor, the music communicates that plastic infectiousness of invention that makes Haydn immortal.”
Review of Haydn, Vol. 1 on Audiophile Audition web magazine
Audiophile Audition, 9/15/2013

“H&H happily sounded like one of the best HIP organizations in the country.”
“The orchestra played exceptionally well, with biting intensity when necessary but also with lovely singing tone in the quieter moments.””As fine as the orchestra was, the chorus of 29 was even more impressive, singing with precision and nuance and making such a splendid noise that one could easily have imagined that there were twice their number on stage.”
Review of Jephtha (H&H’s and  Les Arts Florissants’).
Parterre, 6/2/2013