Reviews

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OPERA MAGAZINE

Lively, charming performances by Sylvie Gallant and Katie Slater.

Hugo Shirley

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THE TELEGRAPH

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

Rupert Christiansen

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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

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NEWSTATESMAN

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

Alexandra Coghlan

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THE OBSERVER

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

Fiona Maddocks

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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

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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

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A YOUNGER THEATRE

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

Ed Theakston

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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

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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

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ISLE OF WIGHT COUNTY PRESS

Sylvie Gallant was pure minx as Semele... 

Sue Lupton