Latest Reviews

Le nozze di Figaro (2017)
Silver Birch

"It's the terrific panache of Karen Gillingham's staging that really socks you between the eyes and ears. It was all superbly played by the Garsington Opera Orchestra, augmented by student instrumentalists and expertly conducted by Douglas Boyd."
Richard Morrison, The Times, 31 July 2017

"...this was a real achievement."
Richard Fairman, Financial Times, 1 August 2017

"A remarkable event with a vast community cast. There is a real sense of vision in this coming together, as clear in the unstoppable energy of the performers as it is in the excellence of the stagecraft displayed in Karen Gillingham's complex production."
George Hall, The Stage, 31 July 2017

"Panufnik and Duchen's achievement is to synthesise personal and poetic experiences, often harrowing and disturbing, into a work of beauty and hope."
Amanda-Jane Doran, Classical Source, 30 July 2017

"A work that is having an impact on performers and audiences alike, and which stands as one of the very best examples of this type of opera."
Sam Smith, Music OMH, 31 July 2017

"A chorus of roof-raising passion and purpose...directed with commanding skill by Karen Gillingham."
Helen Wallace, Arts Desk, 31 July 2017

"This was undoubtedly the most uplifting and moving evening I've spent in the theatre this year. It deserves many more outings - soon."
Susan Elkin, Sardines Magazine, 31 July 2017

Il turco in Italia

"New snap and sexiness in this revival."
Anna Picard, The Times, 28 June 2017

"It's as close to perfection in a Rossini comedy as you could wish for. A world-class achievement."
Edward Bhesania, The Stage, 27 June 2017

"A performance of scene-stealing delight."
Mark Valencia, WhatsOnStage, 30 June 2017

You won't see another where the acting, direction and stage movement is so rich in detail and so full of ideas so brilliantly executed."
David Karlin, Bachtrack, 27 June 2017

"Brilliant theatrical moments and engaging singing."
Robert Hugill, Planet Hugill, 27 June 2017

Pelléas et Mélisande


"You'd be hard pressed to find a better cast female lead thatn Andrea Carroll...she makes a bewitching Mélisande."
Hannah Nepil, Financial Times, 21 June 2017

"A striking achievement."
Tim Ashley, The Guardian, 19 June 2017

"Beautiful and devastating."
George Hall, The Stage, 19 June 2017

"Andrea Carroll is an exquisite singer."
Anna Picard, The Times, 19 June 2017

"Andrea Carroll is the most wholly credible Mélisande I have encountered."
Mark Valencia, WhatsOnStage, 17 June 2017

"The Philharmonia Orchestra give a beautifully paced performance."
Clare Colvin, Sunday Express, 25 June 2017

"In Andrea Carroll Garsington has discovered a wondrous Mélisande. Her is a voice of exquisite beauty. Her performance was utterly captivating."
Jonathan Cross, Opera, 1 August 2017

"An excellent cast, a classy orchestra, terrific conductor and a glorious set."
Paul Levy, Arts Journal, 23 June 2017

"Musically, it was not so much a case of decay and decline as freshness and flourising."
Melanie Eskenazi, Music OMH, 19 June 2017

"It's stunningly watchable. Any Pelléas as beautiful and musically accomplished as this will intrigue and fascinate like few other operas."
Stephen Walsh, Arts Desk, 17 June 2017

"A timeless world of fairy-tale and scenic enchantment...This was a night of tremendous debuts at Garsington for the eponymous pair of hesitant lovers."
Claire Seymour, Opera Today, 18 June 2017

"A provocative and compelling staging."
Curtis Rogers, Seen and Heard, 18 June 2017

"The Philharmonia musicians surpassed themselves in the beauties of Debussy's score."
Peter Reed, Classical Source, 17 June 2017

"A world of poetry, magic and exquisite sounds. The shining star was Andrea Carroll."
Maureen Idowu, Henley Standard, 27 June 2017

Le nozze di Figaro

"This Figaro hits the spot."
David Mellor, Mail on Sunday, 11 June 2017

"However many Figaros you may have seen, this one should not be missed...the evening is a sheer delight. 
Clare Colvin, Sunday Express, 11 June 2017

"I have never known a Figaro like Joshua Bloom's."
Michael Church, The Independent, 5 June 2017

"Jennifer France made a sparkling role debut."
Rebecca Franks, The Times, 8 June 2017

"The audience cannot help but be enchanted by this magical Figaro."
Inge Kiemtrup, The Stage, 5 June 2017

"Bravo Cox, bravo Boyd, bravi tutti. Worth another revival, I'd have thought."
Hugh Canning, Opera, 1 August 2017

"Catch it if you can for the sheer energy and charm exuded by the entire cast, and for France's adorable Susanna in particular."
Katherine Cooper, Bachtrack, 7 June 2017

"Like all the best productions of the work, this one reminds us once more that, in Peter Shaffer's words, "The disguises of opera had been invented for Mozart.""
Melanie Eskenazi, Music OMH, 5 June 2017

"There is something extra special about the two main male parts. Duncan Rock and Joshua Bloom's performances will linger in the memory as testaments, among other things, to John Cox's genius as a director."
Paul Levy, ArtsJournal, 5 June 2017

"This is no ordinary Figaro - there is a tangible sense of affection in every bar."
Douglas Cooksey, Classical Source, 4 June 2017

"This is a delightful Figaro..."
Claire Seymour, Opera Today, 3 June 2017

"Silly, wise, passionate, affecting and genuinely funny."
Susie Cogan, Daily Information, 16 June 2017

"The casting for the four principal roles was inspired. The production was outstanding."
Trevor Howell, Henley Standard, 17 June 2017


"Comical and clever."
George Hall, Financial Times, 6 June 2017

"Heidi Stober sang with rock-solid security and diamantine sparkle in the title-role."
Rupert Christiansen, The Telegraph, 2 June 2017

"...beautiful singing."
Tim Ashley, The Guardian, 2 June 2017

"Christine Rice and Heidi Stober provide the most gripping singing...The chorus is magnificent and there's much ear-catching instrumental work in the pit."
Richard Morrison, The Times, 5 June 2017

"This was a splendidly sung performance, with stylish conducting by Jonathan Cohen. There are magical moments in this staging." 
Barry Millington, Evening Standard, 2 June 2017

"There is much to enjoy, and Garsington Opera Orchestra, under Jonathan Cohen, brings out the full glory of Handel's score."
Clare Colvin, Sunday Express, 11 June 2017

"First-rate musical performance and production that's hard to fault."
Michael Tanner, The Spectator, 10 June 2017

"A magical new's a treasure."
Mark Valencia, WhatsOnStage, 4 June 2017

"...a triumph."
Edward Bhesania, The Stage, 2 June 2017

"This was an evening of ravishingly beautiful music. The singers were superb, the chorus was big and bountiful; the orchestra gave a vivacious and theatrical performance."
Amanda Holloway, Opera Magazine, 1 August 2017

"A sensational start to Garsington Opera's season."
Christopher Gray, Oxford Times, 8 June 2017

"Jonathan Cohen's direction of the Garsington Opera Orchestra provided a gloriously consistent and seamless strand..."
Curtis Rogers, Seen and Heard, 4 June 2017

"A triumph." 
Mandy Beard, Henley Standard, 12 June 2017

"Jonathan Cohen and the Garsington Opera Orchestra gave a sparkling, lively reading of Handel's great music, providing so much wit and delight."
Melanie Eskenazi, Music OMH, 5 June 2017

"The music is sublime and the performances very fine indeed."
Paul Levy, ArtsJournal, 5 June 2017

"Cohen secured grandeur in the choruses by conducting with vigour and precision exactly met by the superb singers."
Curtis Rogers, Classical Source, 3 June 2017

"A witty, winning production..."
Claire Seymour, Opera Today, 3 June 2017

"There's plenty of sprit in this production to entertain."
Mark Pullinger, Bachtrack, 2 June 2017

"A majestic slice of escapism. Heidi Stober was worth the visit to Garsignton alone."
Russell Baily, Daily Information, 14 June 2017

"The most imaginative production of utter delight..."
London Theatreviews, 19 June 2017

"Musically accomplished, and at the same time funny."
Serenhedd James, First Direction, 11 June 2017

"A humorous, intelligent production."
Helmut Pitsch, O-Ton, 20 June 2017

"The chorus is a delight."
Maren Orstavik, Aftenposten, 5 June 2017