In The PressReview of "Rule Britten-ia" in Oregon ArtsWatch
Resonance sings Britten, incandescently
by Jeff Winslow - October 23, 2013
Review of "Back in the U.S.S.R." in Oregon Music News
Resonance Ensemble Explores Music Back in the U.S.S.R.
by James Bash - March 6, 2013
Review of "The Bard Sings" in Oregon ArtsWatch
Music Reviews: Revolutionary activities
by Brett Campbell - October 31, 2012
"Resonance’s use of multi media elements and beautifully crafted performances of fresh repertoire (including four fine works by contemporary composers) help make it one of Oregon’s most valuable musical resources."
Review of "Un Menu Musical" in Oregon ArtsWatch
Weekend MusicWatch: Celebrating the Revolution
by Brett Campbell - June 8, 2012
Katherine FitzGibbon interviewed for Wall Street Journal article
Alt-Classical Surge Hits the Northwest
by Brett Campbell - December 13, 2011
Review of "Song for All Souls" in Oregon ArtsWatch
by Brett Campbell - November 4, 2011
"Of the several excellent shows I caught last weekend, Resonance Ensemble‘s performance may linger longest in my memory. Hugo Distler’s theatrical Dance of Death proved to be strangely moving and seemed to emerge from ancient times, despite the occasional modern musical influences. But what really struck home was the sensitive, intimate performance by this all-star team of singers in mostly somber music by Samuel Barber, Johannes Brahms, Maurice Durufle and more. Resonance’s seemingly effortless dynamic shifts seemed perfectly geared to the lyrics’ phrasing and emotional content, and their ability to maintain a rich, firm tone even at the softest volume was especially impressive. At the end of Distler’s piece, when a worthy character achieves redemption, the sun suddenly brightened the stained glass windows at Portland’s First Presbyterian Church."
Article featuring Resonance Ensemble and Katherine FitzGibbon in Oregon ArtsWatch
Choral Revival: Portland’s choral music scene is flourishing
by Brett Campbell - October 28, 2011
Resonance Ensemble named "Rookie of the Year" in the 2011-2012 Finder: Willamette Week's Guide to Portland Arts: The 18 Essential Classical Performances
by Brett Campbell - September 2011
"Completing its first full season, this assemblage of professional singers is a real all-star team. Under ambitious director Katherine Fitzgibbon, it's tackling fascinating, often new and unfamiliar repertoire and re-energizing the city's already abundant choral scene."
Review from Oregon Music News:
Resonance Ensemble conquers the challenges of love and marriage in season finale
by James Bash - May 2, 2011
Resonance Ensemble is featured in The Oregonian's A&E:
10 Indie Adventures: Quirky performing groups explore lively places outside mass culture
by David Stabler - November 12, 2010
"The Witching Hour" reviewed in The Oregonian
Classical review: Hectic and haunting performance shows what Resonance Ensemble can do
by James McQuillen, Special to The Oregonian - October 31, 2010
Oregon Music News feature - October 18, 2010
Katherine FitzGibbon and the Resonance Ensemble program new themes into Portland’s vocal scene
by James Bash - October 18, 2010
Willamette Week Preview
by Brett Campbell - May 5, 2010
"The PDX Choral Calendar lists almost five dozen choral groups in the area, not counting various school and church choirs. Do we really need another one? Even before its debut concert, the new Resonance Ensemble makes a strong case. Its director, Katherine FitzGibbon, who runs the choral program at Lewis & Clark College, has demonstrated the highest artistry in performances since she arrived in Portland two years ago. And the ensemble, which has already attracted some veteran singers, will be one of Portland’s only professional choruses. Unlike some of our excellent specialty choirs, it’s devoted to a wide range of repertoire that spans centuries and styles, as evidenced by the artistically challenging but ear-friendly program: Baroque masterpieces by J.S. Bach, Heinrich Schütz and Giovanni Gabrieli; Igor Stravinsky’s completion of a Gesualdo motet and, most impressively, Swiss composer Frank Martin’s powerful 1922 Mass for Double Choir."
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