“Rapid passagework in Baroque music can sound finicky, with a kind of sewing-machine needling; but time and again, Cummings encouraged playing and singing that were smooth, gentle, even tender — from the chorus in “He shall purify,” with its rapidly ornamented, high-flying lines, or from the strings in the recitative “There were shepherds.” …”James Kryshak, […]
“Laurence Cummings’s new version with Göttingen festival forces captures fully the uplifting, pastoral, ethereal vision in arias such as Susanna’s “Crystal streams in murmurs flowing”, and his cast, while not all perfect in English, are responsive, with Ciara Hendrick outstanding. Beautiful.” — Read more at theguardian.com.
“Despite swaths of flesh-coloured silk, foppish ribbons and much elaborate positioning of hands, Imeneo is remarkably musically convincing for an opera once described by a contemporary as “the worst of all Handel’s compositions”. That is thanks to Cummings’ perfect pacing and the infectiously catchy phrasing he draws from his excellent orchestra and cast.” – Read […]
“Laurence Cummings held everything together with his customary enthusiasm and commitment, and he drew very fine playing from the London Handel Orchestra…” – Read more at musicomh.com.
“Is applauding between movements acceptable? Absolutely! An audience should feel free to respond to the atmosphere in the room and what they feel in their hearts. If they are exhilarated they must be free to show it. I suppose that might mean that we could get to the end of a piece and not receive […]
“As always, the strength of the festival’s opera offerings is found down in the orchestra pit, where Laurence Cummings and the London Handel Orchestra brought Ariodante to life with vitality and emotional depth.” – Read more at ft.com.
“The London Handel Festival is back, and instead of ploughing their usual furrow of rarely-seen works, this year’s opera is a classic…Laurence Cummings drives the performance with all his usual verve and rhythmic attack.” – Read more at theartsdesk.com.
“…his frenetic flight through a liturgical season over the course of a single evening can’t help but thrilling fun in the exciting, historically-informed hands of H&H under Laurence Cummings…” – Read more at The Boston Musical Intelligencer
“Previous editions of the Handel and Haydn Society’s “Bach Christmas” have been generous with the guest composers, ranging as far afield as Mexico and Russia. But this year’s “Bach Christmas” is just that: three cantatas — 36 (“Schwingt freudig euch empor”), 133 (“Ich freue mich in dir”), and 140 (“Wachet auf, ruft uns die Stimme”) […]