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Dido’s Ghost – Edinburgh International Festival – The Scotsman Review

★★★★★

Ken Walton, The Scotsman

“An intoxicating cocktail.”

Read the full review here.

Dido’s Ghost – Edinburgh International Festival – The Herald Review

★★★★

Keith Bruce, The Herald

“There is no one hero in this work because it is an ensemble triumph, with conductor John Butt and the Dunedin Consort making a glorious success of Wallen’s clever mix of old and new music.”

Read the full review here.

Dido’s Ghost – Edinburgh International Festival – Vox Carnyx Review

Ken Walton, Vox Carnyx

“At the emotional heart of Dido’s Ghost, however, is Matthew Brook’s towering portrayal of Aeneas, which, with Wallen’s and Stace’s evocative writing, invests in the character a human depth that Purcell opted not to explore to any great extent in his own opera.”

Read the full review here.

Dido’s Ghost – Buxton International Festival – The Guardian Review

★★★★

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.

Dido’s Ghost – Buxton International Festival – The Arts Desk Review

★★★★★

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.

Dido’s Ghost – World Premiere at the Barbican – The Stage Review

★★★★

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.

Dido’s Ghost – World Premiere at the Barbican – The Times Review

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.

Dido’s Ghost – World Premiere at the Barbican – Planet Hugill Review

Robert Hugill, Planet Hugill

4.5/5 stars

“… breathtakingly daring yet intelligently done.”

Read the full review here.

Dido’s Ghost – World Premiere at the Barbican – The Economist Review

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.

Dido’s Ghost – World Premiere at the Barbican – Vox Carnyx

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.

Dido’s Ghost – World Premiere at the Barbican – Bachtrack Review

★★★★

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.

Dido’s Ghost – World Premiere at the Barbican – The Guardian Review

★★★★

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 the plaintive, tolling utterance, to devastating effect.”

Read the full review here.

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