Recent Articles & Reviews

Garsington Opera Pavilion
Recent press articles & reviews
The Creation

★★★★
"It's handsomely danced by a huge cast. Douglas Boyd conducts a rich orchestral performance, with sprightly rhythm and a witty sense of Haydn's sound effects."
Zoë Anderson, The Independent, 19 July 2016

"Garsington has a stunning glass opera house sailing on green hills, offering its productions in an unusually dazzling setting...In the case of The Creation, you listen to the creation of neature with the glorious products themselves visible all around."
Ismene Brown, Spectator, 23 July 2016

★★★★
"...the performance of the Garsington Opera and Chorus seemed exceptionally good"
Graham Watts, Bachtrack, 16 July 2016

★★★
"A trio of top soloists relished each aural details, with terrific contributions from the lean, vital forces of Garsington Opera Orchestra and Chorus."
Fiona Maddocks, The Observer, 18 July 2016

"...a truly remarkable evening...This was a brave and wholly successful experiment."
Paul Levy, Arts Journal, 18 July 2016

Idomeneo

"Idomeneo would grace any metropolitan stage. A magnificent realisation of one of the greatest of serious operas."
Hugh Canning, The Sunday Times, 3 July 2016

★★★★
"As the drama is played straight, a brilliant cast can shine."
Michael Church, The Independent, 29 June 2016

"...a soberly beautiful meditation on exile, loss and sacrifice - Shakespearean-rich."
Alexander Coghlan, The Spectator, 30 June 2016

"A near-perfect cast that can sing and act in equal measure does it fullest justice...in the last three or four years Garsington has reached the standards of Glyndebourne at its best, and there's no higher compliment than that."
Daivd Nice, The Arts Desk, 23 June 2016

★★★★
"As Ilia, Louise Alder made each of her arias a wonderfully telling glimpse of the human heart...Truly devastating, though, was Rebecca von Lipinski's Elettra...she gave a magnetic performance: venemous, insatiable, vulnerable, hopeful."
Rebecca Franks, The Times, 23 June 2016

★★★★★
"When you want to hear every number again as soon as it ends and watch the drama unfold twice to catch missed moments, it's the sign of a really cogent production brimful of ideas, packed with care."
Claudia Pritchard, Culture Whisper, 20 June 2016

★★★★
"The cast, production team and orchestra were given a rapturous ovation, and rightly so."
Melanie Eskenazi, Music OMH, 20 June 2016

Eugene Onegin

★★★★★
"It rightly receives a stupendous ovation."
David Mellor, Mail on Sunday, 12 June 2016

"...in almost 30 years of attending Garsington, I don't think I have heard a classic opera cast with such care and accomplishment...Natalya Romaniw is a Tatyana in a thousand."
Hugh Canning, Sunday Times, 12 June 2016

★★★★
"Natalya Romaniw is fast consolidating her reputation as one of the outstanding sopranos of her generation...Roderick Williams is the most cultivated and sophisticated of baritones. Garsington's audiences certainly get visual as well as musical bang for their buck in an altogether exhilharating performance."
Rupert Christiansen, The Telegraph, 4 June 2016

★★★★
"This young Swansea-born soprano has a mesmerising stillness, a face full of expression and a glowing voice capable of astonishing power."
Hannah Nepil, Financial Times, 8 June 2016

★★★
"Natalya Romaniw...she's the Tatyana of my dreams, with a rare combination of power, richness, and purity of tone. And Roderick Williams might have been born to play Onegin."
Michael Church, The Independent, 7 June 2016

★★★★
"There is plenty to enjoy. One pleasure is the Garsington Opera Orchestra...And on stage there are some impressive performances."
Richard Morrison, The Times, 6 June 2016
 

L'italiana in Algeri
 

"...a charming show that made a delightful summer evening seem even more so."
David Mellor, Mail on Sunday, 12 June 2016

★★★
"...it's Kutlu who is the real find: this is a wonderful voice...As Elvira, Mary Bevan blazed her waty through the role with terrific panache. And that great first act finale is clockwork in its precision."
Tim Ashley, The Guardian, 6 June 2016

★★★
"The wit in this show comes from the pit, where David Parry conducts a brisk, Mozartian interpretation with outstanding clarinet, flute and horn solos."
Anna Picard, The Times, 7 June 2016