‘La canterina’ reviews

 

****

“This performance by Classical Opera, conducted by Ian Page, was highly accomplished and, while it was not staged, the expressions and gestures from the principals were on a par with those that might have been found in a full production…

“The evening began with a performance of Haydn’s Symphony No. 34 in D minor, in which it was both delightful and moving to hear the piece rendered by forces on the same scale as those the composer would have known.”

Sam Smith, Music OMH
Read full review

 

“This is Classical Opera’s era and (along with Mozart) relatively staple repertoire, and hats off to them for showcasing it and doing so impressively…

“Rachel Kelly, sparkling in scarlet, is certainly your ‘man’ for this, a gorgeous rich mezzo with bright top notes…

“This was indisputably an enjoyable evening chiefly because of Page and his classy band and singers. Myslivecek’s music was admired by Mozart, and although Haydn is one of the great composers, he intended his operas to provide cheerful undemanding entertainment. This was certainly achieved.”

Louise Flind, Bachtrack
Read full review

 

“Rachel Kelly’s bright, warm mezzo conveyed Apollonia’s mischievous spirit…  Murray’s tenor was relaxed, with a strong baritonal range, and the melodic ornamentation was delivered with insouciance…

“Sporadic bursts of energy, striking dynamic contrasts, punchy horn playing and shimmering string tremolos lifted the music above the mundane. The strings running scales were superbly precise and well-coordinated, the clear-edged sound creating a dramatic contrast with the preceding clouded darkness.”

Opera Today, Claire Seymour
Read full review

 

“Revelatory music, impeccably performed…

“The music itself is stock full of delights, especially in a performance as vivacious at this…

…A memorable, evening, chock full of delights.”

Colin Clarke, Seen and Heard International
Read full review

 

“There are only six numbers, but Hurrell brought out Gasparina’s wily charms winningly, whilst Murray deftly conveyed the comedy of Pelagio’s role, as the work sends up the propensity of the one for jewellery and money, and the weakness of the other for a pretty female face…

“Classical Opera has done a valuable service in rescuing some delightful music.”

Curtis Rogers, Classical Source
Read full review

 

“Soprano Susanna Hurrell, replacing Ailish Tynan, breezed through Mirteo’s bucolic vision with agile ease…

…the singers held steady for a gloriously rich quartet finale in which the girls come out very much on top.”

Helen Wallace, The Arts Desk
Read full review

 

Share