Michael Beattie



Handel, Richard the Lionheart, Pittsburgh Opera, January 2017

"Michael Beattie conducted. . . . and an excellent conductor of the genre he is indeed. The orchestra played smoothly and strongly throughout, a solid column of lovely sound. . . . Any lover of Handel's orchestral writing and Mr. Beattie's masterful interpretation of it should not miss this production." George B. Parous, Pittsburgh in the Round

Handel, Rodelinda, Pittsburgh Opera, January & February 2015

"Conductor Michael Beattie led a performance that was brilliantly unified in baroque style and dramatic thrust." Mark Kenny, Pittsburgh Tribune-Review

La Jolla Summerfest 2013

“. . . the two works on the program that Beattie led from the harpsichord, Bach’s Concerto in A major for Oboe d’Amore and the Cantata No. 99 (“Was Gott tut, das ist wohlgetan”), had an unusual degree of rhythmic vitality, musical clarity and stylistic unanimity. . . . Everything was light and tight, but with plenty of room for the music and the musicians not only to breath, but to take flight.” James Chute, U-T San Diego

Handel, Teseo, Chicago Opera Theater, April & May 2012

"Conductor Michael Beattie led Chicago's period-instrument ensemble Baroque Band with great vitality." Mark Thomas Ketterson, Opera News

"The scoring — which includes harpsichord, theorbo, Baroque guitar, oboes, recorders and drum — is smartly attended to by conductor Michael Beattie, who leads the 22 players of Chicago's period instrument ensemble, Baroque Band." John von Rhein, Chicago Tribune

"Conductor Michael Beattie was a largely inspired and sensitive hand in the pit. . . . Beattie had a keen sense of pacing and over the nearly three-hour performance allowed the rich variety of Handel’s music and the myriad scoring touches to come across effectively. Lawrence A. Johnson, Chicago Classical Review

"Under Michael Beattie’s musical direction, there’s a naturalness that’s wholly inviting and appealing. The three hours, including one intermission, roll by." Andrew Patner, Chicago Sun-Times

Handel – Partenope – Boston Baroque – October 2012

“The dashing continuo group sported such local keyboard luminaries as Michael Beattie and Peter Sykes, each playing a harpsichord, . . ." John Ehrlich, Boston Musical Intelligencer

Handel, Rinaldo, Pittsburgh Opera, January & February 2011

“. . . the orchestra was superb. . . . Michael Beattie conducted the stylish performance, drawing crisp playing from the orchestra.” Mark Kenny, Pittsburgh Tribune-Review

“The orchestra . . . was led with patience and fluency by conductor Michael Beattie.” Andrew Druckenbrod, Pittsburgh Post-Gazette

Schoenberg, Accompaniment to a Cinematographic (Film) Scene, Op. 34, Emmanuel Music, April 2010

“The piece had a marvelous sense of transparency, thanks to the reduced string contingent and to Beattie’s graceful and secure conducting.” David Weininger, Boston Globe

Purcell, Dido and Aeneas, Glimmerglass Opera Festival, July & August 2009

“Michael Beattie’s conducting of the slimmed down, continuo-added orchestra was ravishing and thoroughly honest to Baroque practice.” Robert Levine, Opera Now (November-December 2009)

". . . semi-staged by Jonathan Miller and led sparklingly from the harpsichord by Michael Beattie.” Loanne Sydney Lessner in Opera News (November 2009)

“Conductor Michael Beattie is superb with the nuances of early music.” Paula Citron, The Globe and Mail, Toronto, Canada (August 11, 2009)

“. . . and the refined and inspired musical leadership of conductor Michael Beattie made for a delectable show . . .” Georges Briscot in Operaticus (August 16, 2009)

J. S. Bach, St. John Passion, Emmanuel Music, March 2008

“Michael Beattie . . . led the Emmanuel Orchestra and Chorus and nine aria soloists . . . in a deeply spiritual performance that left the large audience stunned and cheering.” Lloyd Schwartz, Boston Phoenix

Handel, Ariodante, Emmanuel Music, January 2007

"[Michael Beattie] exhibited stylistic and architectural intelligencehe knew where everything was leading and what changes of tone and pace were required. He was especially good at letting the dialogue unfold naturally and efficiently." Lloyd Schwartz, Boston Phoenix

Handel, Rodelinda, Cambridge Lieder and Opera Society

"What made the event exceptional were the superb playing of the orchestra and the conducting of Beattie. . . . Here the Cambridge Lieder & Opera Society went first-class." Richard Dyer, Boston Globe

"Beattie's shapely and vivid direction and the playing of the extraordinary chamber orchestra . . . are the unqualified highlight." Lloyd Schwartz, Boston Phoenix

Chamber Music Society of Lincoln Center

Bach cantatas with Chamber Music Society of Lincoln Center