“Winslow Hall provides a less manicured - and more genial - experience than Glyndebourne or Garsington - This Lucia, directed by David Penn and conducted by Oliver Gilmour sustained powerful momentum”
★★★★ Newcomer shines in a crowded field.
"Despite being a difficult opera to pull off, Winslow Hall's production has genuine merit. The visitor experience is endearingly friendly, and the marquee provided an unexpectedly good acoustic environment.I was surprised by the quality of the performance of Donizetti’s Lucia di Lammermoor - not an easy Opera to pull off by any means - I enjoyed the performance enormously"
“This Production is a triumph, almost without qualification, all the dramatic moments in a work full of them emerging with an impact I haven’t experienced before. The three principal singers are outstanding”
“...and it was magnificent...The Lucia of Winslow Hall was a wholly satisfying event. It was modest in its budget, but successfully ambitious in its aspirations
“There was an energy in Oliver Gilmour’s conducting from the outset. After a superlative start ...one was constantly struck by the quality and preparedness of his ensemble
"The finest surviving house built by England’s greatest architect, Sir Christopher Wren and is a trophy almost without rival. As you approach through the gently rolling north Buckinghamshire countryside, the house, near Aylesbury, stands proud of every building like a Cunard Queen, complete with soaring funnels. Better still this is the Rolls-Royce of English domestic architecture which is as handsomely detailed as the Royal Hospital at Chelsea."
"There’s an inviting convivial atmosphere about Winslow Hall, designed by Wren. It all adds to the atmosphere of being part of an exclusive club. This was like travelling back in time to catch the early days of established events at Glyndebourne or Garsington and experiencing them at their purest."
"Carmen Jakobi directed, an imaginative and lively interpretation that was skilfully realised…As Giovanni finally descended to hell through the stage, bathed in smoke and red light, the spine was suitably tingled ...Oliver Gilmour's conducting...articulated the drama superbly. His choice of tempos throughout was judicious: the Champagne Aria, for instance, fizzed without foaming out of control and 'Mi tradi' maintained momentum while leaving the long-breathed Elin Pritchard room to shape Elivira's sinuous lines to languishing, obsessive effect."
"Gilmour is a remarkable and intuitive interpreter."
"He is a conductor of immense talent and musicality ...his understanding and conducting of Italian Opera is second to none."