★★★★ Flora Willson, The Guardian “A beguiling tapestry of fragmentary quotations and knowing gestures to an earlier music language, overlaid with a contemporary sonic palette.” Read the full review here.
About Jessica Massey
This author has yet to write their bio.Meanwhile lets just say that we are proud Jessica Massey contributed a whooping 90 entries.
Entries by Jessica Massey
★★★★★ Robert Beale, The Arts Desk “It’s a stimulating piece of creation and adaptation, done to a very high standard indeed, and may even be remembered as one of the most striking and original artistic products of the Covid era.” Read the full review here.
★★★★ George Hall, The Stage “Wallen’s skilful score offers atmosphere, variety and some impressive characterisation and is finely sung and played in a performance founded on the excellent Baroque specialist Dunedin Consort under conductor John Butt; musical standards are high throughout.” Read the full review here.
★★★★ Alexandra Coglan, iNews “This is a bold reimagining of Purcell’s classic… All are superb, but it’s Matthew Brook’s Aeneas who carries the piece. The feckless charmer of Purcell’s origin here becomes wiser and sadder – finally a man worthy of the Lament, which he delivers with heart-stopping vulnerability and tenderness.” Read the full review […]
Claire Seymour, Opera Today “Dunedin Consort played with characteristic vividness, relishing the dynamic counterpoint, melodic rhetoric and rhythmic spring… Matthew Brook gave an outstanding performance as the man forced, simultaneously, to re-live his past and re-examine his present.” Read the full review here.
Geoff Brown, The Times “… there was the lively precision of John Butt’s Dunedin Consort, its period instruments regularly spiked with the electric guitars that signalled when Wallen had arrived and Purcell had left.” Read the full review here.
Robert Hugill, Planet Hugill 4.5/5 stars “… breathtakingly daring yet intelligently done.” Read the full review here.
The Economist “A conversation across centuries and styles… Dido’s Ghost hauntingly shows that so-called “period” instruments can, and should, play key parts in the music of today.” Read the full review here.
Keith Bruce, Vox Carnyx “It is desirable beyond argument that Dido’s Ghost becomes a repertoire work.… Dunedin stalwart Matthew Brook has never been better than he is here… Nardus Williams as the supportive Belinda is also a powerful presence, and Scots mezzo Allison Cook is fearsome as Lavinia…” Read the full review here.
★★★★ David Smythe, Bachtrack “a dramatic and thrilling work… Purcell’s work is performed as a memory masque, not quite bookended by the new work as the ghosts take over and the operas collide at the end with an extraordinary and unexpected twist” Read the full review here.
★★★★ Fiona Maddocks, The Guardian “Anyone who insists on Purcell pure might find the mix too challenging, yet this new work is bold and moving, a piercing reminder of how the past haunts the present. Dido’s celebrated lament is heard, but not as you expect it. With a conviction that transfixes, Aeneas himself now sings […]
Keith Bruce, Vox Carnyx “All this is beautifully measured in this performance, conducted by William Conway of the Hebrides Ensemble…” Read the full review here.
Keith Bruce, Vox Carnyx “This is Butt’s Bach scholarship made flesh in a way that anyone coming to the work for the first time will instantly appreciate… “ Read the full review here.
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