We’re wrapping up our third and final Spoleto issue, so we finally got a chance to take a peek at what national media outlets are saying about Spoleto Festival USA.

New York Times critic Allan Kozinn checked out Kepler and commented on how Charleston is the perfect venue for an arts festival because of the way that past and present intermingle. He goes on to say, “Mr. Glass’s score mixes mildly angular vocal lines into his signature torrent of swirling woodwind figures and string arpeggios, and it relies more heavily than usual on varied, assertive percussion textures and rich choral writing. John Kennedy, the festival’s resident conductor, led a brisk but fluid performance that brought out those elements with a winning consistency and unflagging energy.” Read the full review here.

Kozinn also wrote about Philip Glass’ conversation with John Kennedy, festival venues, and several other festival events.

The International Business Times called out our writer Patrick Sharbaugh for his piece on Mike Daisey last week. “The profile has prompted a few exasperated responses from journalists, but nowhere near what you’d expect from a story that describes the technology media space as a ‘massive feedback loop of masturbatory collective self-promotion,'” Ellen Killoran writes.

The Wall Street Journal‘s Heidi Waleson’s reviewed both of Spoleto’s opera offerings. Of Kepler, she writes, “Standouts among the scholar soloists were soprano Anne-Carolyn Bird, who negotiated the high tessitura fearlessly, and Matt Boehler, whose opulent bass brought particular humanity to Kepler’s inner doubts. The fine Westminster Choir became a character itself.” Of Feng Yi Ting: “The Sichuan opera singer Shen Tiemei was riveting and fierce as Diao, revealing the iron-willed woman beneath the seductress in the traditionally strident and nasal vocal style of Chinese opera.”

South Carolina’s Aiken Standard, meanwhile, published a piece titled “What is the Spoleto Festival?”