Reviews 3

● Royal Opera House, Linbury Theatre, Powder Her Face
26 April-12 May 2010, Carla Finesilver, 29 April 2010
To counterpoise the cast of four is an orchestra of only fifteen players, yet in the fuller-scored sections they managed to give the impression of an ensemble twice the size. The score requires quickfire changes of genre and style, which, if executed sloppily, could make of the witty score an ill-fitting patchwork; fortunately, the switches and slides were seamless and so made perfect musical sense, no doubt helped greatly by Timothy Redmond’s care and attention to detail, particularly regarding tempo relationships.

The Arts Desk, Igor Toronyi-Lalic, 29 April 2010
The dreamy, sluttish brilliance continues in the pit, where you will find some of the most enjoyable operatic writing of the last ten years. Hazy glimpses of Piazzolla, Ligeti, Berg, Mahler and Cole Porter flash past, red-lipped, feather-boa-ed, as if all at a tarts and vicars party. Underneath it all, there is the faint murmur of the English tradition and its moral clarion calls in the wheezy sounds of the accordion, which assumes organ-like moral purpose in a chamber setting.

The Independent, Michael Church, 28 April 2010
Under Timothy Redmond’s baton, its brilliant pastiches of everything from Berg and Britten to tango and jazz still dazzle.

The Guardian, Tim Ashley, 28 April 2010
Timothy Redmond’s conducting is super-slick…

Boulezian, Mark Berry 27 April 2010
Timothy Redmond conducted the orchestra with verve and precision, the players responding in kind, clearly relishing the dance rhythms and the array of soloistic colours.


● Royal Philharmonic Orchestra/Ophelie Gaillard cello
Harmonia Mundi
CD Dreams (release date 12 January 2010), Stephen Eddins
Redmond’s thoughtful accompaniments are imaginative and creative in pieces where it would have been easy just to haul out the tried and true, predictable approaches.

● Royal Opera House, Linbury Theatre, Powder Her Face
11 May-22 June 2008

Intemezzo, 25 June 2008
Timothy Redmond conducted with flair and a great deal of sensitivity towards the singers, and the crack Southbank Sinfonia tossed off the scarily testing score as if it was easy-peasy.

The Stage, George Hall, 12 June 2008
In Carlos Wagner’s vividly parodistic production, the opera once again impresses with its virtuosic orchestral writing, strongly played by the Southbank Sinfonia under Timothy Redmond, its sheer colour, and its dynamic energy.