La Follia Concerts listed among Austin Chronicle's Top Ten Classical Music Treasures for the year
2012: 'Yankee Baroque' (more)
A welcome history lesson in music from the Revolution that played like a mixtape for George Washington.
2011: 'Herd of Harpsichords' (more)
Keith Womer and his trio of collaborators not only revealed the variety of this early keyboard instrument, but with a little help from J.S. Bach, they seduced you with its sounds.
AUSTIN CRITICS TABLE AWARDS
2019: Best Instrumentalist, Stephen Redfield (A World Tour of Baroque Instrumental Masterworks)
2016: Best in Ensemble Performance (Start the New Year with Bach) (more)
2016: Best Instrumentalist, Keith Womer (Start the New Year with Bach) (more)
2015: Best Classical Music singer, Nick Zammit (Bach vs. Handel Smackdown) (more)
Austin Critics Table Award Nominations
2015: Best Classical Music Chamber Performance (Bach vs. Handel Smackdown) (more)
2015: Best Instrumentalist, Keith Womer (Bach vs. Handel Smackdown) (more)
2013: Best Classical Music Chamber Performance (Yankee Baroque) (more)
2012: Best Classical Ensemble Performance (Return of the Herd of Harpsichords) (more)
2011: Best Classical Music Chamber Performance (Bach's Herd of Harpsichords) (more)
2011: Best Instrumentalist, Keith Womer in Bach's Herd of Harpsichords (more)
2010: Best Classical Singer, Gitanjali Mathur as Serpina in Pergolesi's La Serva Padrona (more)
Reviews from the 2015-2016 season
I hereby resolve to spend 2016 listening to more Johann Sebastian Bach. How could I not make such a resolution after having followed the directive of La Follia Austin Baroque to Start the New Year With Bach! at its inaugural concert of 2016? It wasn't simply that the 100 minutes of music by the 18th century übercomposer whetted my appetite for more of his wizardry at counterpoint and ornamentation (though it certainly did); it was also that the selections themselves spoke to the kind of changes we all talk about making with the turn of the calendar, changes in the way we live to make us better human beings.
-Robert Faires, Austin Chronicle, review of "Start the New Year with Bach" (more)
REVIEWS FROM THE 2014-2015 SEASON
...the moments of theatrics engaged the audience in a concert that asked for their participation and attention all night long. Is it gimmicky? Sure. Yet a gimmick is only a gimmick if that’s all you come away with at the end of the night. Instead, La Follia’s smackdown, with the gregarious Womer as Master of Ceremonies; his white-wigged assistant announcing each round with a boxing-style placard and a bit of schtick; and pictures of both composers handed out to the audience so they could vote for their favorites, were proof of a carefully considered spectacle. And the lineup of musicians was serious enough to actually execute the idea. (more)
-Luke Quinton, Austin American-Statesman, review of "Bach vs. Handel Smackdown"
Reviews from the 2012-2013 season
Once you get past all of the wigs and corsets, the 18th century isn't nearly as stuffy as it seems. La Follia Austin Baroque proved as much this past weekend in a concert that exposed the energetic and dynamic Baroque spirit.
- Natalie Zeldin, Austin Chronicle, review of "Fit for a King: J.S. Bach's Musical Offering" (more)
Focusing on Haydn and Mozart, La Follia did a lovely job linking classical to baroque
...the concert highlight [was] Haydn's Keyboard Concerto in D Major, with Womer at the harpsichord commanding the work with clear technical mastery. The sanctuary's acoustics proved splendid for featuring the often "dainty"-sounding instrument above the sizable orchestra.
- Adam Roberts, Austin Chronicle, review of "Classically Speaking: Music of Mozart and Haydn" (more)
La Follia takes the harpsichord beyond Bach and proves the instrument isn't just for the baroque
[La Follia] included a contemporary work for four harpsichords and strings by a modern master of the instrument, Asako Hirabayashi. It was a bold departure from the usual stately progressions and rococo runs, and from the first notes – the strings sounding anguished and dissonant – there was no mistaking the era; this was our time.
- Robert Faires, Austin Chronicle, review of "Herd the Third: More Concerti by Bach for Multiple Harpsichords" (more)