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Press Reviews - Cast and Creatives

 

‘[Eleanor] Dennis’s singing of Oh Pale Blue Dawn from Rimsky-Korsakov’s The Golden Cockerel was breath taking...'
The Herald (Opera Highlights, 2013)
 

‘Making her Scottish Opera debut was soprano Eleanor Dennis… Hers is most certainly a voice to listen out for in the future.’
Northings (Opera Highlights, 2013)
 

‘…this was Scottish Opera on tip-top form, its orchestra and chorus no doubt fired up by the occasion, enhanced by a cast completely equipped for the task, and with musical director Francesco Corti firing on all of his native Italian cylinders.'
The Scotsman (Cavalleria rusticana and Pagliacci, 2012)

 

‘[Music Director Francesco Corti] draws elegantly unadorned phrases that surge within simple contours and really blossom at their climaxes.’
The Guardian (Cavalleria rusticana and Pagliacci, 2012)
 

‘The ability to dazzle technically, as well as command the stage dramatically, is pre-requisite for a successful interpretation. Claire Rutter has these attributes. She has an ample, agile voice with dark tones that lend dramatic bite to her singing, and with security and power at the top of the voice. Her singing was committed and became increasingly assured. Of necessity she made much dramatic point through vocal colouring, as any self-respecting singer of the bel canto repertoire should.'
Classical Source (Lucrezia Borgia, English National Opera 2011)

 

Claire Rutter is magnificent in the title role.’
The Daily Express (Lucrezia Borgia, English National Opera 2011)

 

‘By far and away the stand-out performance came from Willard White as Bottom. His way with the text, his commitment and the beauty of sound all combine to create a complete experience.’
Dominic McHugh, Musical Criticism (A Midsummer Night’s Dream, English National Opera 2011)

 

'The star performance comes from the veteran Basilio of Ryland Davies, from whom everyone else on the stage could learn a lesson on how to perform, vocally and dramatically, Mozart's comedy. He isn't absurdly seedy or greasy, but he subtly radiates loathsomeness. Whenever he was on stage, I had eyes only for him.’
Michael Tanner, The Spectator (Le Nozze de Figaro, Glyndebourne)

 

José Fererro, making his Scottish Opera debut…is a superlative tenor, in possession of a powerful voice and more than capable of interpreting Puccini’s full blooded arias’
TV Bomb (Tosca, 2012)
 

‘Scottish Opera’s house band captures the super-charged neuroticism of the music, and handles its cinematic fluidity – and the emotional overload of the orchestral interludes – with gripping fortitude.’
The Scotsman (Intermezzo, 2011)