Latest Reviews 2018


"Henry Waddington gives the most convincing, moving, and beautifully-sung portrayal I've ever seen."
Michael Church, The Independent, 18 June 2018

"A thoroughly professional and well-executed Falstaff."
Sebastian Scotney,, 18 June 2018

"It was glorious. An evening of beautifully constructed, overt comedy featuring an elite cast of exceptionally talented artists."
Helen McWilliams, Entertainment Views, 17 June 2018






"Miah Persson gives one of the most detailed and nuanced acting performances of any singer of the past decade or more...this is a near-immaculate assumption. This Capriccio confirms Garsington's status as the best country-house opera address after Glyndebourne."
Hugh Canning, The Sunday Times, 10 June 2018

"Tim Albery's delicious staging. There was no weak link. The great coup was the Countess herself...singing the role with beauty of tone, subtlety of vocal colour and that ideal, Straussian blend of wit, consternation and wisdom."
Fiona Maddocks, The Observer, 10 June 2018

"This Capriccio, splendidly conducted by Dougie Boyd, really is a must-see."
David Mellor, Mail on Sunday, 10 June 2018

"Persson sings the part of the Countess with Mozartian grace and purity of line...that finale is a proper showstopper."
Neil Fisher, The Times, 5 June 2018

"Miah Persson is superb. The Swedish soprano sings with a voice of pearl and gold. A final scene in which we glimpse Straussian heaven."
Hugo Shirley, Financial Times, 4 June 2018

"Miah Persson is the acme of sophistication as the Countess, singing with all the silvery grace that Strauss adored. Douglas Boyd conducts a sumptuous account of the music."
Rupert Christiansen, The Telegraph, 2 June 2018

"A perfectly judged new production. In Miah Persson we get an ideal Countess."
Michael Church, The Independent, 4 June 2018

"Miah Persson is a peerless Countess. The final aria...immaculately sung."
Clare Colvin, Sunday Express, 10 June 2018

"Garsington makes as good a case as you can for Strauss's frothy Capriccio. Douglas Boyd showed himself to be a fine Straussian. In particular he made the Moonlight Music as it needs to be: achingly lovely, so that one longs for more, but is rightly denied it."
Michael Tanner, The Spectator, 8 June 2018

"Persson is stellar in this gracious, glorious role. A sophisitcated summer treat."
Mark Valencia, WhatsOnStage, 5 June 2018

"Makes a profound impression under conductor Douglas Boyd. Miah Persson's final solo scene is unforgettable in its expressive warmth."
George Hall, The Stage, 4 June 2018

"Miah Persson, looking and sounding radiant."
Barry Millington, Evening Standard, 4 June 2018

"This is world-class singing. Miah Persson is commanding, graceful and luminous of tone throughout. An exquistitely staged and sung production."
Claudia Pritchard, Culture Whisper, 2 June 2018

"A beautiful production by Tim Albery. Miah Persson sailed sweetly and swiftly through the conversational snatches and soared through Strauss's expansive arcs with a blend of silvery limpidity and golden gleam."
Claire Seymour, Opera Today, 3 June 2018

"Stardust has fallen on Garsington in the shape of Swedish soprano Miah Persson."
David Nice,, Monday 4 June

"A gentle, sympathetic Capriccio."
David Karlin, Bachtrack, 2 June 2018

"From the opening sextet to the dreamy horn solo in the 'Moonlight' music, the playing is big on detail and style, as indeed is the whole, impeccable evening."
Peter Reed, Classical Source, 2 June 2018

Die Zauberflöte

"A sharp new production."
Fiona Maddocks, The Observer, 10 June 2018

"A clever new Mozart staging. Best of all is Louise Alder as Pamina. She is a rising star and you can easily see why."
Richard Morrison, The Times, 4 June 2018

"Plenty of laughs, it's stylish and inventive, and the cast is strong. This is a clever production."
Michael Church, The Independent, 1 June 2018

"Netia Jones's imaginative re-think. There is excellent work by the cast, especially Louise Alder's radiant Pamina, Benjamin Hulett's lyrical Tamino and bass James Creswell's magisterial Sarastro."
Clare Colvin, Sunday Express, 10 June 2018

"Netia Jones' new production is a corker. The musical side of things is unalloyed delight. Christian Curnyn stirs the Garsington Opera Orchestra to exuberant heights and galvanises a wonderfully distinguished cast."
Mark Valencia, WhatsOnStage, 1 June 2018

"An enigmatic staging. Louise Alder's flawlessly controlled Pamina, Sen Guo's immaculately skilled Queen of the Night, Benjamin Hulett's clean-edged Tamino and James Creswell's richly flowing Sarastro all score highly."
George Hall, The Stage, 1 June 2018

"This is a smashing cast: fresh-sounding, and each bringing slightly more to the table, vocally, than you necessarily expect with a Zauberflöte."
Richard Bratby, The Spectator, 9 June 2018

"Louise Alder sang a commanding Pamina. The depth in casting was admirable."
Mark Pullinger, Bachtrack, 1 June 2018

"One of the handsomest productions we've ever seen in this auditorium. This is as strong a cast as Garsington has ever fielded."
Alexandra Coghlan,, 1 June 2018

"A superb cast. In this visually enchanting and intellectually thought-provoking production, Jones interweaves copious ideas into a multifarious concept."
Claire Seymour, Opera Today, 1 June 2018

"A strong cast and a radiant account of the title role."
Robert Hugill, Planet Hugill, 11 June 2018

"The star of the evening was Miah Persson...she has a wonderfully rich liquid-like voice. A great achievement, and a perfect evening."
Mike Proudfoot, Daily Information, 1 June 2018

"Albery's production is a witty interpreation, which gets even better in the second half."
Louise Lewis, British Theatre Guide, 1 June 2018

"Miah Persson is at the to of her game and supplies a sensational performance. Under the baton of Douglas Boyd, this is a musical joy."
Christopher Gray, The Oxford Times, 7 June 2018

"The Garsington Opera Orchestra played their hearts out. Miah Persson shone in the starring role."
Maureen Idowu, Henley Standard, 3 June 2018