2017-2018 Review Highlights

Visitors to Versailles

"Reinhold’s voice blossomed in an extraordinary way" | Read Full Review

Charles Downey, Washington Classical Review, May 3, 2018

Scarlatti | Geminiani

"So enterprising that you applaud the idea as much as the achievement." | Read Full Review

Alastair Macaulay, The New York Times, February 4, 2018

"Opera Lafayette’s double-bill delivers a striking cross-cultural success." | Read Full Review

Charles Downey, Washington Classical Review, January 31, 2018

"Ryan Brown led a lively performance on period instruments and deserves kudos for dreaming up a way for audiences to enjoy these unique pieces together." | Read Full Review

Joanne Lessner, Opera News, February 2, 2018

An Evening of Monteverdi

"An evening of exceptional music-making." | Read Full Review

Charles Downey, Washington Classical Review, October 25, 2017

"The lovely Ms. Redpath showed her vulnerable side in "Lamento della ninfa" with three male voices (Mr. Kilbride, baritone David Newman, and bass Alex Rosen) serving as a Greek chorus commenting on her fate. The performance of Guest Musical Director Thomas Dunford on the archlute was particularly fine here, adding to the sonorities. " | Read Full Review

Meche Kroop, Voce di Meche, October 26, 2017

2016-2017 Review Highlights

Les Indes Galantes - Part IV

"Opera Lafayette brings before us baroque works from France, always cast with exceptional singers." | Read Full Review

Meche Kroop, Voce di Meche, June 3, 2017

"It was a wonderfully concise program that revealed a great deal of diversity within a single piece of opera. It was a well performed and well directed night of music." | Read Full Review

Elle Marie Sullivan, Maryland Theatre Guide, June 4, 2017


Léonore, ou l’amour conjugal

"The event was uncommonly rewarding" | Read Full Review

Musical America Worldwide, February 27, 2016


"Where in North America can you see 17th- and 18th-century French comic opera featuring an all French-Canadian cast? The unlikely answer is Washington, DC. The city’s company Opera Lafayette (OL) has been performing obscure French Baroque opera for 17 years." | Full Article

La Scena Musicale, February/March Issue

"Why does Opera Lafayette from Washington, DC come up to Montreal for rehearsals of its new production?" French Version | English Translation

Le Devoir, January 27, 2017

Opera Lafayette Season Review

"Opera Lafayette is the third opera company I follow consistently... Opera America cites it as an outstanding company in Washington and one of the best in the country... Ryan Brown makes his home in our city... and his company should be considered a national treasure." | Read Full Review

Susan Galbraith, DC Theatre Scene, August 2016

2015-2016 Review highlights:

Recording - PHILIDOR: Les Femmes Vengées

"Opera Lafayette’s young cast ... sing with clean, stylish vocalism and manage the comedy capably. But it’s Ryan Brown’s orchestra that steals the show, playing with rich contrasts, clarity and verve."  |  Read Full Review

Opera News Magazine, February 2016

Une Éducation Manquée

"Emmanuel Chabrier’s Une Éducation Manquée (An Incomplete Education),” a half-hour work for piano and three singers, written in 1879 for a single performance in a club. Opera Lafayette brought this piece, as light and fleeting and swirling with color as a soap bubble, to the Terrace Theater on Tuesday and Wednesday night."  |  Read Full Review 

Anne Midgette, The Washington Post, February 3,2016 


"Soprano Sophie Junker was a wide-eyed Hélène, with ... a beautiful overall tone, with soprano Amel Brahim-Djelloul ... showing a charming boyishness in the trouser role of Gontran. Baritone Dominique Côté had smart comic timing as Pausanias.”  |  Read Full Review   

Charles Downey, Ionarts, February 4, 2016

Catone in Utica

"Emilia, sung splendidly by the young mezzo-soprano Julia Dawson, lurked in the background through most of the first half, like everyone’s bad conscience, but suddenly turned into a spitfire before intermission, vowing to avenge her husband’s death. As Caesar, Mr. Holiday, a robust and brilliant countertenor, had similar animated opportunities and made the most of them. As Cato, Mr. Allen, a strong veteran tenor, took his wrath out harrowingly on Marzia, his daughter, having learned of her secret love for Caesar. Anna Reinhold, a mezzo-soprano, sang Marzia beautifully, and Marguerite Krull was effective in the thankless trouser role of Arbace, Marzia’s would-be lover. (Don’t you hate it when a Caesar gets in your way?) Eric Jurenas, another powerful and pliant countertenor, sang Fulvio, Caesar’s aide."  |  Read Full Review

James Oestreich, The New York Times, December 2, 2015

"Brown is not a conductor who imposes himself on the music. He simply is the music, and his musicians follow him with a unanimity that is a joy to watch...[he] has the ability to discern which particular details of shape and texture will most vividly characterize a mood, throwing open the doors to great variety in his music-making."  | Read Full Review

Patrick Rucker, The Washington Post, November 29, 2015



A Complete List of Opera Lafayette's Reviews