“A dream cast and orchestra bring comedy, conflict and magic to Britten’s Dream”
Nick Holmes, Music.com, 15 September
Garsington Opera’s BBC Proms debut drew an exuberant reaction from audience and critics alike.
Artistic Director and conductor Douglas Boyd reflects: We are so grateful to BBC for giving us the opportunity to make our debut at the Proms- to perform with a fabulous cast and our world class partners the Philharmonia Orchestra. It was also inspiring to see and hear Garsington Opera’s own children’s chorus, made up of local schoolchildren, captivate a packed Royal Albert Hall of nearly 6000 people as well being heard worldwide on BBC Radio 3 and BBC Sounds. Excellence on stage, alongside championing our Young Artists programme (exemplified by Daniel Vening stepping in brilliantly at the last moment to perform Bottom) and changing lives through music and drama with our GO Participate programme is at the heart of our ethos and was wonderfully demonstrated at the Proms.
Please enjoy some excerpts from the reviews below where you will find links to the full articles online.
★★★★★
“As mentioned, this the first time Garsington Opera has performed at the Proms. No doubt, with its resident contemporary orchestra The Philharmonia, it won’t be the last.”
“All four lovers were in excellent voice, suiting their characters perfectly. Camilla Harris (Helena) had a lovely, light soprano voice, Stephanie Wake-Edwards (Hermia) a warm, rich contralto, Caspar Singh (Lysander) a plangent tenor, and James Newby a suitably robust baritone (Demetrius). All four relished their acting roles, bringing vivid characterisation to each one”
Nick Holmes, Music.com, 15 September
★★★★★
“While some opera productions that were originally designed for smaller venues struggle to fill the Albert Hall, this performance felt unaffected by the larger space”
Sam Smith, musicomh.com, 12 September
★★★★
“Highest musical values on Garsington Opera’s Proms debut”
“The magic truly took over”
“The Garsington Youth Opera Company, superb throughout”
“Star of the show-within-a-play, as so often, was Flute/Thisbe, here progressing from tremulous “let not me play a woman” to indomitable queen in a bright-red ballgown; three cheers for the charismatic James Way”
David Nice, Theartsdesk.com , 11 September
“Huge plaudits should also go to Daniel Vening, who stepped up at the last minute to take on the major role of Bottom. Vening was designated cover during the production’s run this summer, so was able to perform off-book and to great aplomb – his Nick Bottom had just the right balance of pomposity and enthusiasm … Vening’s efforts were loudly appreciated by the audience and the entire company, and justly so.”
“Iestyn Davies’ turn as Oberon was incredibly memorable. To juxtapose his angelic voice with the cruelty of the King of the Fairies only made the character more sinister”
Debbie Gilpin, broadwayworld.com, 11 September
“Stephanie Wake-Edwards mezzo Hermia is a delight in her ardent passion, her despair and especially fury. Wake-Edwards takes full possession of Hermia’s anxiety, delight, betrayal, anger and dazed revelation and every note is resolute and clear”.
“Jerone Marsh-Red’s northern Puck in lime-green is the delight of the show, somersaulting, throwing shapes and spells with promiscuous delight, and proving fairies as well as mortals fools”
Simon Jenner, fringereview.co.uk, 11 September
“Douglas Boyd brought out all the iridescent colours of Britten’s otherworldly score, and the playing of the Philharmonia Orchestra was beyond reproach. I have never heard so much instrumental detail – one of the benefits of an opera orchestra not being in a pit – cementing my view that this is one of Britten’s most innovative and beguiling works”
“Lucy Crowe’s bewitching Tytania used her silvery-voiced instrument to telling effect, caressing Britten’s vocal lines, even in the stratospheric reaches of the part”
Keith McDonnell, seenandheard-international.com, 11 September