“[Beverly] Biggs, the harpsichordist, had a chance to shine all by herself in C.P.E. Bach’s Fantasia for Harpsichord in G minor, H. 225, with its magical arpeggios, fantastical runs, surprising chords, and charming melodies. It was a joy to hear the double-manual French harpsichord, one of several keyboard instruments in her collection.”                                            – Ken Hoover, Classical Voice of North Carolina, March 2020

“A sensitive solo performance of Daquin’s Noel IX by harpsichordist Beverly Biggs wove an exquisite, delicate filigree of baroque melody in air heavy with the scent of evergreen boughs.”              —     Spokane Chronicle

“The playing from Biggs is fluent, musically varied, and stylish throughout, showing expert command of such niceties as notes inégales, embellishment, and the lilt of French syntax in general. Three dance movements from Rameau’s 1724 collection of Pièces de Clavecin make an effective timbral contrast to the rest of the album. Beverly Biggs’ playing here virtually defines the qualities of the French clavecin school: elegance, fire, rubato, poise, and wonderful variety of touch.”                    — The Double Reed International Journal

“The improvisation into the half-cadence before the Allegro alone was worth the effort to attend the concert.”   — Tri-City Herald

“Beverly Biggs anchored every selection expertly from her harpsichord with a beautiful tone and marvelous articulation in the fastest passages.” — CVNC, January 2017

“There was an incredible moment of peace in last night’s performance. Beverly Biggs began playing six of Schubert’s Sentimental Waltzes on the fortepiano. Everyone stopped moving around. No one coughed. People put aside their daily cloaks of gossip and missiles and money – and listened. Minds and hearts opened to simple themes, to simple beauty. The waltzes were really just sketches. They didn’t last long. Moments like that rarely do. Perhaps that’s why they get remembered.” — Spokane Chronicle

“As a fine tapestry can warm a room, so did the fine harpsichord of Beverly Biggs warm those two pieces. In between them, she played three short solo dances that excited the brain and charmed the soul. Consistent phrasing and natural rhythm are Biggs’ emblems. With the aid of swift and graceful fingering, she, more than any other performer, revealed to us the unaffected beauty of Rameau’s compositions.”        — Spokane Chronicle

Beverly Biggs’ interpretation of the Harmonious Blacksmith, from the Fifth Harpsichord Suite, was as rewarding as a choice cut of roast beef. Each variation in the Air was presented as though any little Baroque girl who had been taught to tickle the harpsichord prettily could have done it with ease. But, more than mere technical mastery, Biggs’ genteel musicianship made the Blacksmith work. Variation 4, especially – which is a real sizzler – left one in awe of the force of restraint. What could have been just hot stuff was like a fire in the fireplace, to enjoy, and not have just as an object of passion.”    — The Spokesman-Review

“The crowd favorite was Joseph-Pancrace Royer’s La Marche des Scythes from his Pièces de Clavecin, originally written for solo harpsichord but this time performed with two – a wonderful decision, for it added the depth and grandeur that this particular tune demands. It is a highly technical, catchy tune that plays with audience expectations through false endings, and left everyone feeling invigorated.”     CVNC review

“Funaro and Biggs are exceptionally gifted harpsichordists. Their communication across the keyboards was flawless, their technical execution was stunning and their enthusiastic connection with the audience was outstanding”   – CVNC review, October 2016



 “Your music is such a gift! You gave Michelle and me something the other night which we shall own all our lives. What a joy was that evening. How fine it is to watch you craft your art right before one’s eyes as though it were a tapestry to hang in Versailles instead of rings of sound which can only live in the heart’s recollection. Thank you.”   — Larry Shook, Editor, State Magazine of Washington

“Your new CD is delicious!  Fabulous harpsichord playing – and the ensemble is pure perfection.” —  Gail Vaughan, Director, Red Lodge Chamber Players

Musette CD (oboe & harpsichord):  “Excellent performances – the oboe playing is very suave, highly nuanced, and with beautiful tone quality.  The virtuosity of the Folia variations is very well done, so much so that the music flows without conscious virtuosity.  You have obviously achieved a fine ensemble and the give-and-take of the duo is one of the pleasures of the recording.  You are to be congratulated on a considerable success!”         —  George Houle, Stanford University

The Baroque and Beyond concert was just brilliant, in conception, ordering, and certainly in execution.  Each work had its unique delights, and covering this range of composers and styles shows so well your [Bev] and Elaine’s mastery of the period and this intricate and rich music.  Bravo to both of you!  – Audience member, October 2016, Chapel Hill