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“There is a fundamental honesty about the piece and an absence of sentimentality or melodrama which commands respect.” The Lion's Face

Daily Telegraph

“John Fulljames’s straightforward production has a dignified presence of its own, without resorting to sensationalism or preaching.” The Lion's Face

The Guardian

“ I was far more charmed and entertained by The Opera Group’s latest premiere than I expected to be. And touched as well. In its gentler, understated and small-scale way The Lion’s Face finds a way of saying something profound and moving… a courageous piece. ” The Lion's Face

The Times

“Beautifully clear singing from the superb cast… Magnificent.” The Enchanted Pig

The Stage

“Real magic… like all the best legends and fairytales, be enjoyed on different levels.” The Enchanted Pig

The Times

“The Opera Group's performance couldn't be bettered. John Fulljames directs a delightful production, inventively designed by Dick Bird” The Enchanted Pig

Daily Telegraph

“A delight for adults as well as children… Jonathan Dove’s exciting, through-sung score and Alasdair Middleton’s witty libretto make this pig fly.” The Enchanted Pig

Sunday Times

“Harrison Birtwistle’s rumbustious pastorale… spirited and wonderfully coarse-grained.” Down by the Greenwood Side

Independent

“This is something quite exceptional, both in the originality of its form and the depth of its inspiration... it left me both stunned and elated. A masterpiece, no question.” Into the Little Hill

Daily Telegraph

“Mesmerising. There was nowhere to hide from the visceral power of Benjamin's score - by turns eerie, abrasive, sad and lyrical. And Crimp's clever twist on this familiar tale seemed coruscatingly topical.” Into the Little Hill

Times

“A transcendentally beautiful piece, perfectly scaled to Martin Crimp's taut libretto.” Into the Little Hill

Guardian

“It's hard to fault The Opera Group's terrific staging, energetically directed by John Fulljames, stylishly designed by Dick Bird and forcefully conducted by Patrick Bailey.” Street Scene

Daily Telegraph

“A show that deserves to be seen.” Street Scene

Guardian

“Is it opera or musical? As with Porgy and Bess, formal definitions seem academic when confronted by a show of such passion and power.” Street Scene

Guardian

“What a revelation for my uninitiated ears Kurt Weill's Street Scene proved to be in Opera Group's valiant production.” Street Scene

Evening Standard

“A huge ensemble thrillingly registers the climactic moments of an extraordinary opera-musical that deserves further exposure.” Street Scene

Evening Standard

“Gioulami’s snappy and very singable libretto is expertly delivered by a dexterous cast.” The Shops

The Times

“Darren Abrahams as the driven Christoph and Anna Dennis as his grasping girlfriend are outstanding, and so too are Phyllis Cannan, Richard Burkhard, Louise Mott and Paul Reeves in a gallery of cameo roles.” The Shops

Guardian

“John Fullljames’s expertly madcap direction suggests a helter-skelter slice of absurdism... A welcome change for a contemporary opera to push our comic, rather than tragic, buttons.” The Shops

The Times

“Edward Rushton’s latest opera: a breezy, fluent chamber work in 30 snappy scenes.” The Shops

The Guardian

“The stunningly gifted young Opera Group... [in] the presentation of a remarkably assured and compelling new one-acter from a youthful composer of immense gifts, Edward Rushton.”

The Birmingham Post

“...a confident debut from a young composer with plenty to say; Rushton is a talent of which we ain't heard nothing yet.” The Young Man with the Carnation

The Observer

“To cram all his into an act is a minor miracle... his score is brilliantly skilful.” The Young Man with the Carnation

The Sunday Times

“The Opera Group's insight into Shostakovich's strange and contradictory world is nothing short of genius.” The Nose

The Guardian

“it is incredibly rare to see ensemble work of this level in theatre, let alone opera with virtuoso singing included.” The Nose

The Times

“This triple bill of black comedies being toured by the contemporary opera company the Opera Group is an out-and-out winner. A gloomy outlook, but the pacy, comedic intensity of it all had me giggling with terror and delight all the way through. It was tragic, but it was hilarious. And the heightened contrasts of dark and light flashed before our eyes in so many ways in all three that the whole production, directed by John Fulljames, displayed wonderful unity and colour. Though it was all very sad, the audience left with big grins on their faces in the end.” Weill Bernstein Triple Bill

The Times

“The direction of The Opera Group by John Fulljames, with designs by Adam Wiltshire, is highly imaginative. Rushton's astonishingly inventive score was excellently sung and played. Catch this superbly crafted piece of music theatre at the Linbury next week.” Birds. Barks. Bones.

The Evening Standard

“The Opera Group is a dynamic young company that brings great theatrical verve to the staid old world of opera.” Trouble in Tahiti

The Times

“As an ensemble show, capturing the mood and spirit of the original, its utterly captivating. It's the sheer zest and non-stop fluttering excitement that whirls you along.” The Birds

The Independent

“A marvellous piece, original in structure, packed with deft ensemble writing and expressive vocal lines, and both funny and moving. The cast are outstanding, too... A triumph for all concerned.” Birds. Barks. Bones.

The Guardian

“Rushton's astonishingly inventive, accomplished score was excellently sung and played... catch this superb piece of music theatre” Birds. Barks. Bones.

The Evening Standard