Reviews
 
 
 
 
 
 
 
   
   
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Reviews
 
THE EMPEROR OF ATLANTIS / BACH CANTATA
English Touring Opera (October 2012)
'The wit and desperate sadness of it all are beautifully captured by Peter Selwyn's conducting.'

Tim Ashley – The Guardian
'Conductor Peter Selwyn and his ensemble effortlessly bridge the gulf between Baroque grace and Ullmann’s blend of cabaret and Berg-influenced modernism.'

Michael Church – The Indepent
…haunting, atmospheric staging, with the added benefit of the wonderfully accomplished Aurora orchestra under Peter Selwyn, who conducted a thrilling account of the score…

Musical Criticism website
Throughout, conductor Peter Selwyn directed his eclectic band of players (reflecting the limited resources Ullman had at his disposal at Terezin) with consummate skill.

MusicOMH website
'Incisively conducted by Peter Selwyn.'

Classical Source website
'Conducted by Peter Selwyn, the members of Aurora Orchestra convey a genuine feel for the scores - a key factor in the success of this important production.'

The Stage
'The young Aurora Orchestra, conducted by Peter Selwyn, played fluently and with great commitment.'

Opera Britannia website
'Conducting by Peter Selwyn maintained the tension in this musically intriguing and extremely moving work.'

Mark Ronan Blog
'Conductor Peter Selwyn and the Aurora Orchestra, were to the point throughout the evening, ensuring that the diverse variety of styles cohered into a satisfactory whole. The Ullmann was beautifully played…..'

Hugill Blog

'the orchestra, expertly directed by Peter Selwyn, was on excellent form'

Seen and Heard International Website

OWEN WINGRAVE
Internationales Kammermusikfestival Nürnberg (September 2011)
Das massiv mit Blech und Schlagzeug zupackende Kammerorchester des Festivals sorgt für rhythmisch vibrierende wie feinnervig farbliche Zeichnung. Brittens Maxime, „vollkommene Klarheit des Ausdrucks“ zu erreichen, schien dem Produktionsteam und dem souverän lotsenden Peter Selwyn am Pult ein vordringliches Anliegen zu sein.

Peter Selwyn steered the Festival Chamber Orchestra magisterially, evidently mindful of Britten’s maxim ‘to achieve perfect clarity of expression’.

Nürnberger Zeitung

LA RONDINE
Opera Holland Park (July 2011)
'Peter Selwyn really knows how to let this music bloom and breathe'

Neil Fisher – The Times (4*)
'…..music of watercolour delicacy which conductor Peter Selwyn beautifully realizes'

Michael Church – Independent (4*)
'In the pit, Peter Selwyn presides over some lovely playing from the City of London Sinfonia.'

Anna Picard – Independent on Sunday
'Peter Selwyn's unhurried conducting allows the piece to make its case on its own terms'

Martin Kettle – The Guardian
'Peter Selwyn’s orchestra is on superb form, producing a subtle and blended sonority'

The Stage
'Conductor Peter Selwyn provided an ideal sense of ebb and flow in the pit'

Metro Newspaper
'Issues with the OHP pit (long and thin) have been a repeated refrain of mine, and here with woodwind placed centrally things finally gelled, with Peter Selwyn’s orchestra producing the most blended sound I’ve heard in this space. A strong cast of singers allowed the players the freedom to really release, and the result was as mature and balanced as a tent acoustic can ever hope to produce.

Selwyn’s account of Puccini’s score ….. could romance the most cynical of souls'

ArtsDesk website
'Conductor Peter Selwyn and the City of London Sinfonia certainly make a passionate case for it in their fine account of the score.'

WhatsonStage.com
'Puccini’s web of seductive melody and dance was lovingly conducted by Peter Selwyn'

Classical Source website
'The orchestra under Peter Selwyn brings out the opulence of the score'

Daily Express
'excellent playing by the orchestra under Peter Selwyn - the best I have heard the orchestra in recent memory

the orchestra (was) on exemplary form. Mr. Selwyn evoked the full translucence of the score, soft restraint giving way to the playful caprice with which so much of the score is imbued.'

Opera Britannia website
'In the pit, Peter Selwyn and the City of London Sinfonia succeeded in capturing the delicate colours of the score — Viennese melodic sentiment couched in a rich, Italianate and recognisably Puccinian idiom. …. it was a pleasure to listen to, always well-balanced.'

Ruth Elleson – Opera Today website
'excellent conducting from Peter Selwyn'

MusicOMH – website
CARMEN – Welsh National Opera
'….the driving pace set by conductor Peter Selwyn, and the crisp playing of the fine orchestra…..'

MusicOMH – website
MAHLER 4 WIGMORE HALL
Nuremberg International Chamber Music Festival (September 2009)
'Peter Selwyn conducted a keenly felt performance with lucid, understated authority'

Neil Fisher – The Times (4 *)
'The slow movement, in particular, was a lesson in how to hold an audience spellbound as the music slowly unfolded in the quietest of voices until the emotional outburst towards the end cried out to us in full throated anguish. It was fascinating to hear this group – really an ensemble of soloists – relishing the challenges of making a full orchestral score work in miniature under the quite inspired guidance of Peter Selwyn'

Musical Pointers Website
'Last Thursday, at the Wigmore Hall, players from the Nuremberg International Chamber Music Festival, conducted by Peter Selwyn, gave a splendid performance, full of the wonder and power necessary to bring this work to life'

Seen and Heard Website
HÄNSEL UND GRETEL
Opera Holland Park (June 2009)
…well sung and played under Peter Selwyn’s baton with relish of the score’s graceful and rumbustious dancing quality.

Edward Seckerson – The Independent
It was saved though, by Peter Selwyn’s reduced orchestra, which really shines in the interludes. The children’s goodnight hymn was … beautifully handled

London Evening Standard
Peter Selwyn…presented a lyrical, detailed and almost Goodall-type interpretation. I have never heard Hänsel and Gretel’s prayer so softly and expansively sung as on this occasion; it was heartbreakingly beautiful. Praise is due to the singers but the ultimate credit belongs to the conductor

Musical Criticism Website
Happily, the City of London Sinfonia, under the baton of Peter Selwyn, was as strong as ever. Smooth and flowing in the Overture, maintaining a gripping tempo when it was needed, and also indulging effectively in the more languid passages, it contributed to the fact that in this production the playing, the singing and the acting were all generally good.

Music OMH Website
Peter Selwyn clearly loves this score: he conducts with exemplary tempi and phrasing, and his concern for good balance ensures that none of the music’s many surges overwhelm the singers, despite the absence of a proper pit to tame Humperdinck’s dynamic extremes.

Whatsonstage.com
Under Peter Selwyn, the City of London Sinfonia deliver a cosy reading of the score, with some lovely details….

Anna Picard, Independent on Sunday
ROMEO ET JULIETTE
Opera North (2008)
On the rostrum Peter Selwyn supported his singers in this bel canto styled work appropriately , allowing time for phrasing while keeping the drama moving.

Seen and Heard Website
JENUFA
English Touring Opera – Buxton Opera House (May 2006)
'Peter Selwyn fluently conducts Jancek´s wonderfully descriptive score….'

Manchester Evening News May 2006
HEAR OUR VOICE Hackney Music Development Trust (July 2006)
'Peter Selwyn´s clearly inspiring conducting….. '

The Guardian July 2006
PETER GRIMES
Staatstheater Nürnberg (May 2003)
'Vor allem in den Sturmmusiken war die Leitung von PETER SELWYN von großer Dramatik und imposanter Steigerung geprägt. Aber auch lyrische, weiche und empfindsame Klangfarben kamen nicht zu kurz. Die gutdisponierten Nürnberger Philharmoniker waren bei ihm zuverlässige Partner.'

Orpheus Oper Zeitschrift
THE TURN OF THE SCREW
3. Internationales Kammermusikfestival Nürnberg (Sept 2004)
'Auch der musikalische Leiter PETER SELWYN erzielte mit seinen 13 Instrumentalisten eine große Ausdrucksvielfalt, die von angstvollem Flirren hoher Bläser und dumpfem Pauken- bzw. Kontrabass-Grollen bis zu weit ausgespannten impressionistischen Klangflächen reichte. Die Begleitung der Sänger war - auch während Wanderungen durch den Kirchenraum - trotz der heiklen Akkustik stets sehr gut koordiniert und dynamisch ausbalanciert.'

Nürnberger Nachrichten
'PETER SELWYN, für die musikalische Leitung verantwortlich, setzte auf brodelnde Dynamik und expressive Tempi, um Brittens "merkwürdige Geschichte" fesselnd nachzuerzählen. Mit spontanem Sympathiebeifall und kräftigen Bravos honorierte das Publikum seine Interpretation.'

Nürnberger Abendzeitung
'Die musikalische Ausstrahlung...verdankte man dem engagierten Dirigenten PETER SELWYN. Er setzte mit seinen Ensemble von 13 Solisten die Akzente der musikdramaturgisch raffiniert gebauten Turn of the Screw in Brittens Partitur um. Die ...mit kristallener Klarheit vermittelte Musik.....'

Der neue Tag
'PETER SELWYN als Dirigent entlockte der Partitur ihre sinnlichsten, klangschönsten Seiten'

Nürnberger Zeitung
THE RAPE OF LUCRETIA
2. Internationales Kammermusikfestival Nürnberg (Sept 2003)
'Die zwölf Musiker, geführt von PETER SELWYN am Pult und Klavier, setzten die oft lautmalerische Partitur makellos und mit viel Farbe um.'

Nürnberger Zeitung
DIE LUSTIGEN WEIBER VON WINDSOR
Staatstheater Nürnberg (June 2003)
'Die Ouvertüre….die PETER SELWYN in Samthandschuhen einleitet und später mit rückartig auftrumpfendem Temperament zur Attacke treibt….'

Nürnberger Abendzeitung
'Im Orchestergraben gelang Peter Selwyn vor allem im Kontrast der samtenen Streicherpiani und der betont schwerfälligen Fallstaffpassagen ein lebendiger Beitrag zum Bühnengeschehen.'

www.opernnetz.de
COSI FAN TUTTE
Staatstheater Nürnberg (May 2003)
'Eine gute Leistung erbrachte PETER SELWYN an der Spitze der Nürnberger Philharmoniker. Er dirigierte Mozarts Musik spritzig – flüssig und setzte gute Akzente. Das gut disponierte Orchester wußte er zu routiniertem und intensivem Spiel zu animieren. Den Sängern war er ein umsichtiger Begleiter.'

Orpheus Oper Zeitschrift
LE NOZZE DI FIGARO
Staatstheater Nürnberg (May 2000)
'Der junge Dirigent PETER SELWYN und das motivierte Orchester haben hörbar Harnoncourt in ihren Erfahrungsschatz aufgenommen. Zumerken ist das an der geschärften Spielweise, härteren Phrasierungen, Temporüchungen. Der Eindruck war jedenfalls sehr gut.'

Der neue Merker