Opera Magazine (October 2019)
'The comedy was built around a heroine of substance - this Angelina showed some spiritfrom the start - leaving space for tension, sentiment and tightlychoreographed knockabout. Similarly, Matthew Kofi Waldren's conducting consistently achieved the fundamental Rossinian balance of exhilarating dynamism and bouyant grace.'
The Stage (July 2019)
'conductor Matthew Kofi Waldren consistently achieves the essential Rossinian balance of exhilarating dynamism and buoyant grace.'
Opera Today (July 2019)
'Giving support to those above stage was the West Green House Opera Orchestra skilfully directed by Matthew Kofi-Waldren. He secured stylish playing throughout and steered well-judged tempi that brought buoyancy and plenty of excitement without compromising ensemble. Altogether, a thoroughly enjoyable evening.'
Classical Source (July 2019)
'Matthew Kofi Waldren conducts a sensitively paced account of the score, not driving the rhythms too hard, and timing the comedy well.'
Planet Hughill (July 2019)
'In the pit, Matthew Kofi Waldren acted the necessary role of traffic policeman admirably, keeping the complex ensembles on track, yet he also ensured that everything fizzed with excitement. With such a small orchestra (16 strings, single woodwind and horn) this was a very lithe performance, which suited the young voices and Waldren tailored his approach to this. But there was also plenty that was expressive, and having the music zip along did not preclude some beautifully touching moments, with plenty of space for the singers.'
Music OMH (August 2019)
'Matthew Kofi Waldren’s conducting is highly accomplished as he elicits an extremely smooth and balanced sound from the West Green House Orchestra, which plays Jonathan Lyness’ reduced orchestration, and effectively captures not only the rhythms of the music but of the piece as a whole in terms of its overarching momentum, themes and humour.'