© 2014 by Matthew Waldren

Il Barbiere di Siviglia

 

'From the first attention-grabbing chord, the City of London Sinfonia under Matthew Waldren revelled in every jokey phrase and bouncy rhythm. Nicholas Lester's Figaro and Nico Darmanin's Count's double act was funny visually and musically.'

Amanda Holloway; Opera; July 2014

 

'Matthew Waldren did a great job in keeping the arias and big set piece numbers on track. I loved the orchestra’s mock heroics, playfulness and winning exuberance in the overture (the woodwind section were particularly good). Waldren provided a very attentive accompaniment to the principals and set piece numbers were superb – I loved the way the the Act 1 finale was allowed to build nicely into a frothy, riotous piece of high camp.'

Robert Beattie; Seen & Heard International; June 2014

 

'The City of London Sinfonia responded well to Matthew Waldren's baton, his apt tempo choices and a persuasive musical momentum. The strings were on gleaming form.'

Mark Valencia; What's on Stage; June 2014

 

'Matthew Waldren’s conducting is highly intelligent and controlled, and generates some beautiful playing from the City of London Sinfonia...the cleanness and balance of sound he achieves goes a long way to generating excitement in its own right.'

Sam Smith; Music OMH; June 2014
 

'[The overture] zipped along vivaciously with raucous woodwinds and spirited percussion contributions'

Mark Pullinger; Bachtrack; June 2014

 

'The musical directing [is] superb and the performance provides all the hilarity you could expect from Rossini, and sometimes more'

S.A. McCracken; Plays to See; June 2014

 

'Conductor Matthew Waldren led the City of London Sinfonia through a sparkling overture...there was much attention to detail...the string ensemble was good, and the woodwind and horn solos sang warmly'

Claire Seymour; Opera Today; June 2014

 

'The Overture was generously shaped and fully anticipated all the mischief waiting in the wings...he looked after the singers well and built up a fine Act one finale.'

Peter Reed; Classical Source; June 2014