“Endless pleasure” in Bicket's Semele at Carnegie Hall

"Choruses were delivered with clarity and purpose by the glorious Clarion Choir (under Steven Fox’s excellent direction and training), while arias, loving, sensual, playful, and invariably florid, were superbly handled by the soloists."

Robert Levine, Bachtrack
A Marvelous Semele

"...A Marvelous Semele...The English Concert, a superb period instrument orchestra whose annual spring visit to Carnegie is a must for Handel-lovers... were joined by the aptly named Clarion Choir (Steven Fox, artistic director) and six splendid soloists, all led by the conductor Harry Bicket...the choruses may be the glory of “Semele.” Act II — when it looks like Semele and Jupiter, in the form of a mortal man, are going to live in sensual bliss — ends with the sumptuous 'Bless the glad earth.'"

Anthony Tommasini, The New York Times
‘Semele’ Review: A Delicious Mashup of Genres

"'The superb 28-member Clarion Choir was a revelation: Full-voiced, with rhythmic precision and articulation as clear as the orchestra’s, the ensemble easily switched gears from the sensual languor of “Endless pleasure, endless love” to the moving, oratorical statement of the opera’s dark lesson: 'Nature to each allots his proper sphere / But that forsaken we like meteors err: / Toss’d through the void, by some rude shock we’re broke, / And all our boasted fire is lost in smoke.'"

Heidi Waleson, The Wall Street Journal
Semele at the Barbican

"'Who could fail to be knocked sideways by the balanced tones and glorious thrust of New York's Clarion Choir (so aptly named).."

Geoff Brown, The Times

“…This has been a voyage of discovery for me, as all the works on this release are receiving their world premiere recording. The flawless ensemble of The Clarion Choir, under the inspirational direction of Steven Fox, has been perfectly captured in this demonstration class recording. The balance achieved by the engineers cannot be faulted. The acoustic of St. Jean Baptiste Church, New York confers a captivating aura of resonance, in ideal proportion, upon the compelling music making. I can think of no better advocates for this wonderful music than this superb choral ensemble…”

Stephen Greenbank, MusicWeb-International

"The Clarion Choir is as ardently passionate as it is immaculate in its balance and pacing. Chants between movements are sung not by a member of the choir, but by Leonid Roschko, a protodeacon in the Russian Orthodox Church, adding a gritty-voiced authenticity to this hugely admirable project."

Jeremy Pound, BBC Music

"There’s a mystical quality, a whiff of incense, to Passion Week and, as the music ebbed and flowed, I was lulled into a wonderful, contemplative state. That was down also to the quality of the performance; expertly paced by the conductor Steven Fox, the singing was fluid and full of light and shade."

Rebecca Franks, The Times
Transcendental Taverner: Clarion at the Met in Review

"The driving force, of course, was Maestro Fox, who directed with visible passion and energy. One would be hard pressed to find a conductor with more commitment to his repertoire or connection to each note from his choir. The results spoke for themselves."

Rorianne Schrade, New York Concert Review

"All were also members of the superb chorus, which had obviously been finely drilled by Mr. Fox and well schooled in the pronunciation of Church Slavonic, presumably by a diction coach not identified. (If it was Mr. Fox, the more power to him.)

You have to hope that with this presentation, Clarion has opened the way to a different kind of annual tradition: exploring the Russian liturgical repertory more broadly, perhaps starting with Tchaikovsky’s Vespers and Liturgy of St. John Chrysostom and continuing with the revelatory “Passion Week” of Maximilian Steinberg, which Clarion helped to unearth. And there is much more worthy repertory where all of that came from."

JAMES R. OESTREICH, The New York Times
Steven Fox conducted Music of the Baroque’s holiday program Friday night at St. Michael’s Church.
Chicago Music of the Baroque debut

"This unusual setting for soprano, chorus, organ and brass ensemble blends angular harmonies with an unapologetic theatricality...Fox led a sumptuous performance that built to a rousing Vistavison climax."

Lawrence A. Johnson, Chicago Classical Review
The Magic Flute - l’Opéra de Québec

"A note of excellence goes to the conductor of l’Orchestre Symphonique de Québec. The maestro, an American from New York, Steven Fox, 37, coming from the world of baroque music and opera directed l’OSQ perfectly. The orchestra sounded beautiful, always providing the ideal level of sound to allow the artists on stage to be heard."

Opéra de Québec delivers high quality Mozart

"Skillfully directed by the American conductor Steven Fox, l’Orchestre symphonique de Québec delivered a sonorous tapestry, exacting, precise and without fault."

Yves Leclerc, Le Journal de Montreal
Sacred Work, Written in Secret in Leningrad

"Maximilian Steinberg’s 'Passion Week' arrived in New York on Tuesday evening in a stunning performance by the Clarion Choir, conducted by Steven Fox at the Church of St. Jean Baptiste on the Upper East Side of Manhattan."

James R. Oestreich, New York Times
Harmonic Complexity That Moved Its Maker

"Under Mr. Fox’s deft guidance, the choir’s voices blended beautifully, with alluring details of phrasing and dynamics admirable from the opening ... The choir sounded radiant in the poignant 'Rejoice, O Virgin,' with a hushed, intense intimacy that bloomed into a full-blooded, gorgeous sheen. Mr. Fox revealed the drama in the score with vivid dynamic shadings. In 'Blessed Is the Man,' the 'Alleluias' unfolded with characterful contrast; first solemn, then impassioned, before concluding with an introverted whisper. Intonation and pacing were exemplary throughout the performance."

Vivien Schweitzer, New York Times
Clarion Ensemble at Bargemusic

“The stellar early-music Clarion Ensemble"

Corinna da Fonseca-­Wollheim, New York Times
Missionary Zeal, Baroque Style

“Steven Fox, Clarion’s artistic director ... conducted the beautifully rendered program ... spirited, polished playing from the instrumentalists and a well-blended, joyous sound from the choir.”

Vivien Schweitzer, New York Times
Exploring Rossi's Place in the Jewish Liturgy and in a Wider World of Experimentation

“The extreme harmonies of Gesualdo’s ‘Moro, Lasso’ showed off the singers’ assured sense of pitch and control, as they leaned into the difficult dissonances and allowed the resolutions to fall into place naturally. Under the direction of Steven Fox, the ensemble’s artistic director, tempos also took on a certain speechlike music to hover over key words.”

Corinna da Fonseca-­Wollheim, New York Times
Clarion Choir at Tully Scope Festival

“Feldman’s Rothko Chapel ... absolutely blew me away. From the four ovations it received, I think the rest of the audience felt similarly. Rothko Chapel became a religious experience in the hands of ... the ethereal voices of the Clarion Choir.... The piece’s unimaginably gentle sonorities were handled with tremendous care by Axiom, but it was the Clarion Choir’s accuracy and blend that transformed this performance into a transcendent experience.”

Jake Cohen, Consequence of Sound
Abstract Expressionism in Aural Mixed Media

“... the Clarion Choir gave a pensive and mystical performance of the 30-minute ‘Rothko Chapel’ ... The calm, sensitive performance ... conveyed the simplicity and directness of this wondrously restrained music. And the audience, which had listened with uncommon contemplativeness, gave the performers a long ovation.”

Anthony Tommasini, New York Times
Does the Organ Matter?

"[Paul] Jacobs asked the superb Clarion Choir to perform [the Bach chorale settings] a capella before each organ setting. Skillfully led by Steven Fox, the choristers sang with purity of tone and ensemble precision."

Barbara Jepson, Wall Street Journal
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