"Musical excellence is the essential that (musical director Oliver Gooch) imposes on his company, and with pretty slender means they are already achieving standards that would be the envy of many a larger organisation. Word is getting around, and a discriminating audience (including at least one internationally renowned singer (Dame Janet Baker - Ed) who was visibly purring with approval) had gathered at the Ryan Theatre for the opening night of The Barber of Seville and what a splendid evening they had.
"From the opening notes of the overture it was obvious that here we had an orchestra that was under full control and playing very sweetly. Next the singers, all of them with excellent diction and resisting any temptation to over-sing.
"Figaro is plot-master general with the whole opera relying upon his nimbleness of mind and action – Paul Carey Jones serves up the complete package, he seems to be everywhere on stage simultaneously, playing as much of the comedy through expression as action, and delivering really firm toned singing.
"To sum up in Suffolk dialect - If tha' don't be grand success – tha' did should!"
Serena Fenwick, Musical Pointers, May 2006
"Paul Carey Jones as Figaro, ‘the busiest body in Seville’, stole the show with his cheeky swagger and creamy baritone. His first aria was a delight as he bounded around the stage detailing his profession (and professional tricks), flashing the scissors and combs inside his waistcoat. Carey Jones carried the comic scenes to hilarious effect, in particular during Act II where he shaved the Doctor in such as way (towel over the head, chin pulled this way and that) as to allow Almaviva and Rosina to continue with their tryst.
"On a sweltering evening, Opera East gave us a refreshingly light rendition of Rossini’s masterpiece, a nimble touch shared by orchestra and singers. This was certainly not a night to drown in Wagner, but Robert David Macdonald’s cheeky English translation and the musical buoyancy commanded by conductor Oliver Gooch charmed the audience from the opening notes of the overture to the final kiss."
Rachel Fentem, Local Secrets, July 2006
