Reviews

"Recorder player Sarah Cantor exuded a joie de vivre as she swooped and swayed her way through this lively piece…the dulcet tones of the soprano recorder were tinged with poignancy. Sarah Cantor demonstrated youthful effervescence, smooth phrasing, and exemplary breath control."
- The Boston Musical Intelligencer

“In Trifft menschlich und voll Fehler, Jason McStoot teamed up with recorder player Sarah Cantor, who danced the music as much as played it with such joy and sprightly ease that one wished she had been given more to do than just the one piece. McStoots’s softened his sound so tenderly for the second aria that, along with Cantor’s achingly delicate playing, the performance made for the warmest, loveliest moment of the entire evening.”
—The Boston Musical Intelligencer

“The aria from the virtually forgotten “Riccardo Primo” compares the faithfulness of a bird to that of the singer’s beloved and, not surprisingly, features an obbligato recorder. Lisa Saffer and recorder player Sarah Cantor wove delicious intertwining vocal garlands.”
—The Boston Globe

“For me the most successful performance…featured violin virtuoso Eugene Drucker (who is the lead violinist of the Emerson Quartet) and recorder players Aldo Abreu and Sarah Cantor. Sarah Cantor, a newcomer to the series, complemented Abreu’s bright tone with a beautiful liquid voice.”
—The Berkshire Record

“Dear Sarah, I can’t tell you how impressed, how moved I was by your concert.  Never have I heard so musical a recorder as yours. And you certainly know how to put a program together and which musicians to assemble to play it."
—Letter from William Sloane Coffin

Phone: 617-669-4292
Email: [email protected]

“Ms. Cantor’s delightfully liquid, warm tone was a perfect compliment for Mr. Abreu’s somewhat more forceful sound."
—The Berkshire Record

“Ms. Cantor brings to the work a kind of heightened sensibility and energy that forsakes nothing of its lyrical demeanor.”
—John Bell Young

“The style both allows and depends on performer initiative: Where Nemat-Nasser’s preaching was vocally rich but dramatically bland, tenor Jason McStoots (in “Trifft menschlisch und voll Fehler,’’ which put Sarah Cantor's recorder to limpid, pastoral use) was both clarion-bright and confidently energetic. It recalled an era when sermons were sampled and judged as much for
entertainment value as moral instruction.”
—The Boston Musical Intelligencer

“The ensemble Saltarello presented “Les Plaisirs Redoubles,” a rewarding collection of music from the French court by Couperin, Leclair, Forqueray, Braun, and Rameau. The three players continually found ways to interact and communicate musically, especially with a light, alert playing in the movements of a “Suite de ballet” arranged by Saltarello from three Rameau operas, Platee, Castor et Pollux, and Dardanus.”
—The American Recorder Magazine

“Sarah Cantor returned on Saturday for a solo tour de force. Bassano’s Ricercata Quarta, Bach’s flute partita in A minor (in c minor for alto recorder), and Pete Rose’s Bass Burner. Throughout her tone was warm and tuning accurate. The dance feeling in the Bouree Anglaise of the Bach was delicious, and Bass Burner, performed with gusto on a Yamaha knick bass entirely from memory, brought the house down."
—The American Recorder Magazine

"Our Faculty has been joined by Sarah Cantor, who besides being an excellent teacher, is a superb recorder player whose recitals have enjoyed a rapidly growing following."
—Daniel Rostan, Executive Director of the Brookline Music School

“Dear Sarah, The performance was superb…everyone loved it. All was beautifully executed, down to each minute detail. The board obviously gloated over our choice of you; thank you for a wonderful evening.  Now if you could only learn to spell you would be perfect.”
—Alta Vareny, Head of the Winthrop Bean Award for Theatre Arts

“The Great Recorder Relay of the American Recorder Society reminded the listener of the special artistry of Sarah Cantor’s collaboration with gambist Angus Lansing in a program of Scarlatti, Schop, and Blavet  interlaced with arrangements of Bach two-part  inventions.”
—Early Music America