L'Amour de loin

The Stage“It’s an evening of genuine beauty...” Pasca’s production is a riot of movement and colour, using gorgeous costumes, video, acrobatics and flying to create an atmosphere of fantasy that disguises the paucity of solid material in the piece...

Time Out“Not yet reviewed”

Ballet.co.uk“Not yet reviewed”

this is london“Colour floods the stage at all times...” Most awe-inspiring are the journey sequences, where off-stage chorales and glorious stage effects offer the vague impression of watching the Pilgrim’s progress from God’s perspective. Nice...

London Dance“Not yet reviewed”

Financial Times“A show of mesmerising beauty and chaste theatricality...” Medieval and modern, oriental and occidental, film and footlights: this staging fuses them in a seamless skein of imagery and movement, achieving a sophistication UK opera rarely sees...

The Independent“Rodgers's delicate sound was squeezed...” Clever orchestration, meticulous support from Edward Gardner and the orchestra and excellent diction from Williams and mezzo Faith Sherman (as the androgynous Pilgrim who leads Jaufré to his love and his death)...

Guardian“Musically, it's fine...” Edward Gardner makes Saariaho's dense orchestral writing glow, while Roderick Williams as Jaufré, Joan Rodgers as Clémence and Faith Sherman as the androgynous Pilgrim make what they can from such cardboard characters...

The Telegraph“Musically, ENO has done L'Amour de Loin proud...” The orchestra shimmers, hovers and flutters, delicately coloured with medieval and oriental modes, and the vocal lines are lush and melismatic. It is often deeply lovely, but, for my taste, somewhat too relentlessly marshmallow...

The Times“There’s a gentleness and mysterious beauty about the Finn’s music...” Some stage pictures are picturesque. But the production seems far too busy for such a contemplative piece, especially when the music is so well sung and the text so clearly enunciated. It’s as if Pasca doesn’t trust the opera to cast its own spel