Reviews

OPERA MAGAZINE

Lively, charming performances by Sylvie Gallant and Katie Slater.

Hugo Shirley

THE TELEGRAPH

I particularly liked Sylvie Gallant’s Irina and Peter Brathwaite’s Emanuel.

Rupert Christiansen

TIMEOUT LONDON

The result is a zany but fun romantic comedy, with a poignant message about how we treat migrant workers...with a cast of fine singers (Sylvie Gallant’s clear bright soprano stands out).

Jonathan Lennie

NEWSTATESMAN

Gallant's voice lends her despairing queen a youthfulness but also a lightness that Purcell’s writing happily accommodates.

Alexandra Coghlan

THE OBSERVER

The singing, led by Sylvie Gallant was uniformly good...all was done with conviction and seriousness.

Fiona Maddocks

OPERA NOW

...the core of Dido is strong...the peripheries of the drama is heartening, and the whole thing was performed with a big, positive zing.
Robert Thicknesse

TIMEOUT LONDON

There is fine singing all round. As Gretel, soprano Sylvie Gallant is believable as the naughty child; so, too, mezzo Katie Slater as her mischievous brother Hansel. There is some delightful singing from them both, particularly the ‘Evening Prayer’ duet.

Jonathan Lennie

A YOUNGER THEATRE

...Sylvie Gallant plays [Dido] with tenderness and charm, and her voice is captivating.

Ed Theakston

THE LONDONIST

One of the evening’s other surprises was the consistently high quality of the singing. Sylvie Gallant’s light soprano voice and Katie Slater made a convincingly boyish Hansel despite a fine mezzo-soprano voice.

Stephen Wilmot

WHATSONSTAGE

Sylvie Gallant’s Sloane Ranger of a Diana, poured into the tightest of jodhpurs and shiniest of riding boots, was a noticeable exception...

Anne Morley-Priestman

ISLE OF WIGHT COUNTY PRESS

Sylvie Gallant was pure minx as Semele... 

Sue Lupton