The American Organist, October 2009
Region VII, Regional AGO Convention
Albuquerque/Santa Fe, New Mexico
reviewer: Madolyn Douglas Fallis
 
Maxine Thévenot was a brilliant accompanist for the Cathedral Choir concert [sic: the opening event for the convention at the Cathedral of St. John]. In Santa Fe [in her solo recital], she delivered a kaleidoscope of colors on the new Fisk organ.  She later conducted a workshop with handouts and demonstrations for the Guild examinations. 
 
The American Organist, October 2009
Region VIII, Regional AGO Convention
Seattle, Washington
reviewer: Marion R. Anderson
 
For her recital, Thévenot chose a program that included music in a wide variety of periods and styles to show off the remarkable versatility of the Wolff organ. She also performed the second of the two major commisssioned works for this convention: Suite Liturgica by Iain Quinn. For many, this concert was another highlight of the convention. 
 
Organ Canada, March 2009
The Quarterly Journal of the Royal Canadian College of Organists
Maxine Thévenot Charms Toronto Audience

A small appreciateive crowd gathered on a chilly Friday night to hear a naitve of Western Canada present a rich variety of organ repertoire on Canada's largest pipe organ at Metropolitan United Church in downtown Toronto. Canadian artist Maxine Thévenot was the featured artist on November 21st, 2008. The evening was a joint venture of the RCCO Toronto Centre and the Organ Horizons concerts.
      A graduate of the University of Saskatchewan and the Manhattan School of Music, Dr. Thévenot also holds the ARCCO diploma in the College. She lives and works in Albuquerque, NM. She chose repertoire from eight composers, a list which included two Canadian premieres. Iain Quinn's compostiion Continuum, which, the recitalist explained, had only a 'sketch' for a score, allowed much freedom for her as to timing, interpretation and pacing. Her rapid execution of the continuum note was fascinating to hear; one would have liked to have seen the hands in action! The other composition being premiered was by 33 year old British organist Martin Stacey. His work, Totentanz, Hommage a Petr Eben, was electrifying and presented with great elan by the artist.  It was preceeded by an equally energetic presentation of Alleluia of Victor Togni (1935-1965). The passion and the integrity of Togni's work came through brilliantly.
     Everyone was drawn into the concert from the very first note, which was sounded distinctly on a single Dulciana stop of the organ. Throughout the performance, the recitalist succeeded time after time in eliciting interesting and colourful sounds from the instrument in keeping with the differing characters of the pieces.
      Other works heard were by Dupré, Messiaen, Preston, and Jeanne Landry. The program ended with an extended presentation of the works of Louis Vierne. Many of the listeners were inspired with the grandeur of 'Sur le Rhin' taken from Pieces de Fantasie, Op. 54. It was followed by the intimate and soulful 'Adagio' from Symphonie III, with use of the mellow tones and string stops of the organ to great advantage. The Symphonie excerpts concluded with the toccata-like 'Final', with its torrents of sixteenth notes, subtle registration changes, and mounting tensions towards the close. While one could have wished for more 'romantic' shaping of phrases, this performer's technique was never in doubt, and confidence in the performance was assured. It was a fitting close to an attention-grabbing evening. 

Fred Graham, reprinted by permission from The Bulletin, the newsletter of the RCCO Toronto Centre
 
Maxine Thévenot at Girard College Chapel, Philadelphia

Early in October, 2008, organist Maxine Thévenot recorded for two days on the legendary Skinner organ at Girard College Chapel. The finished disc will be released in early 2009 by the Raven Label. Click here to see the video.
 
 
The Beverly Hills Outlook, Charles Lonberger, June 21, 2008
Organica happens at Royce 

With a dancer dancing, a vocalist singing, a painter painting and organists playing while a light/slide show psychedelically flashed overhead, interspersed with descriptive shots of onstage action courtesy of Benton- C. Bainbridge, the latest installment of Organica, celebrated at Royce Hall on June 8th, was more a happening than a concert, per se.

 
The true star of the program was the grand Royce Hall Skinner pipe organ and the organists who played on it.  (played by Thevenot sic)... the "Totentanz" by Martin Stacey was spooky, and "Continuum" by Iain Quinn was purely atmospheric. "Cortège et Litanie" by Marcel Dupré, which included the sound of church bells produced from the keyboard (was easy listening...) ...Maxine Thévenot, who has already established herself,...played with intelligence, taste and efficiency....Exceptional...
Peaks & Plains – Great Lakes Airlines inflight magazine, Summer 2007

The welling, swelling velvety rich tones of the organ wraps around the audience and percolates deep into their souls as they sit in the grandest of places – churches, cathedrals and concert halls. Three lines of music and thousands of pipes create a sound so commanding and all-encompassing that it is easy to forget that their source is one person, dwarfed by the instrument and the huge sounds that resonate from the organ pipes. Behind the organ they might picture a whitehaired man with wire-rimmed spectacles who springs from behind the organ with a sweeping bow.
     They might be surprised when Maxine Thévenot steps out from behind the organ... Read more.
 
Organ Recital, March 28, 2007
Keller Hall, University of New Mexico

"Thevenot gave a rousing reading of Sweelinck's Ballo del Granduca, a Renaissance tour de force that sounds jazzy and up-to-date even today.  She brought poise and presence to Bach's Pastorella, romped through two telling works by 20th century German composer Hermann Schroeder, and closed the concert with Nicolaus Bruhns' huge-scaled Praeludium in eminor.  ....the repertoire.....and brilliant playing seemed to win them (music appreciation students) over. 

Craig Smith, music critic – The Santa Fe New Mexican ( March 30, 2007)

They are doing things right up in Saskatoon, Saskatchewan, for this was the point of origin for the young Canadian artist, Maxine Thevenot. When I previewed a demo CD of Maxine's playing, I listened for all of two minutes before deciding, "I want THIS person on our Heissler Organ Concert Series at St. Petersburg College!" And we were not to be disappointed. Ms. Thevenot played an outstanding recital which clearly displayed all of the necessary ingredients for a successful musical recipe: an innate understanding of appropriate tempi, beautiful phrasing and articulation, a seemingly effortless rhythmic drive, clever registrations, and very interesting (and different!) programming. Her interpretations were sensitively rendered and always faithful to the stylistic nuances of each composer. In short-Maxine has that elusive musical quality called "good taste", combined with an impressive technique with which to deliver it.

As a concert presenter, I found Maxine to be consistently quick to respond to the many communications which take place in order to arrange the event; always gracious in her personal dealings, and, simply put, a lovely and lively personality. I was very pleased to bring this talented young woman to Florida for her first time, and rest assured, she will be back!

Paul Dixon, Organ Professor, Saint Petersburg College, Florida (March 2007)


Maxine Thevenot 'displayed exceptional technique and consummate musicianship'.  'Ms. Thevenot's persuasive musicianship and clean technique were a perfect match for this concerto.'

The American Organist magazine (October 2006)
Orchestra Hall, Chicago
Richard Proulx, Concerto for Organ and Strings
Metropolis Symphony Orchestra; Julian Wachner, conductor


Ms. Thevenot played with style and polish dashing off the more brilliant parts with skill to spare...her performance was masterful.

AGO 2006 National Convention attendee, Larry Wheelock
Kenwood United Methodist Church, Milwaukee, WI


"University of Saskatchewan Music Grad Performs
at Prestigious Chicago Concert"
Click here to read this June 7, 2006 article about Maxine Thévenot.


What a great event – last night's recital. You made the organ sing in the most beautiful, accomplished way. Your registrations were creative and fun to hear. Your articulation is wonderful. I particularly liked the Bach and the Vierne. Thanks for giving so much of yourself for St. Paul's.

Steven Rosenberry, St. Paul’s Episcopal Church, Albany, NY October 2005


Ms. Thévenot's recital was the high point of our fall series. Her choice of repertoire and her handling of the very sensitive 1974 Fisk instrument was exceptional. But most importantly, she conveyed her own musical interpretations in a sensitive, lyrical style, with a grand sense of communicating through her playing with our very sophisticated listeners. The audience is still talking about this very gifted young performer.

Dr. Douglas Major, St. Michael's Church, Marblehead, MA November 2005
Former Director of Music, Washington National Cathedral


Maxine Thévenot gave a much anticipated organ recital at Holy Trinity Anglican Church, Winnipeg on Tuesday, July 20th, 2004 which was polished, delightfully balanced and performed with great conviction.

  The American Organist magazine (January 2005)
 Royal Canadian College of Organists National Convention,
Winnipeg, MB, CANADA July 2004


Maxine Thévenot returned to Kingston and played a delightful concert at St. George's Cathedral on October 24th.  The program included works from the baroque including Bach and Buxtehude.  Ms. Thévenot's technique is brilliant as can be seen in her handling of this repertoire in such a reverberant accoustic. A lighter offering was Percy Grainger's Early One Morning which was lovely. Olivier Messiaen's Le Banquet Céleste and Versets pour la fête de la dédicace were very persuasive to some in the audience who may have not really appreciated Messiaen before. The Dupré was impressive and well-played. The tour de force of the evening came in the second half with the Vierne, Symphonie III.  This is an almost spooky piece and perhaps a good choice for so close to Hallowe'en. Once again, Ms. Thévenot showed us virtuoso playing and intelligent registration and interpretation of this amazing piece. I'm sure that the scholarship winners in attendance were inspired by this young and accomplished player. A Great evening!

Royal Canadian College of Organists review by chapter member, Carol Ramer
St. George’s Cathedral, Kingston, Ontario October 2003


When I referred to Maxine Thévenot as a ‘rising star’ in my announcement of her recital in the last issue, I was basing my description on second-hand evidence. She gave one of the most exciting and well-played recitals I have heard. If people went to see a charming young woman, they were not disappointed; but the photo as the centerpiece of a full-page article in the Kingston Whig-Standard gave no hint of the energy, formidable technique and profound musicianship which the recital displayed.

I was continually struck by the nuanced continuity of Ms. Thévenot’s playing—of the three pieces from Les Corps Glorieux, Messiaen—everything was played with apparently effortless inevitability; her sense of timing is superb.

What a concert-splendid technique, perfect timing, imaginative registration, and above all an unfailing sensitivity to the spirit and style of each composer. Thanks to Ms. Thévenot for playing for us and for charming everyone who met her.

Royal Canadian College of Organists
Review by Professor Norman Brown, MA, BPhil (oxon) FRCCO (hon)
St. George’s Cathedral, Kingston, Ontario March 2002