And if the music sometimes thrills more than it moves, the conductor Matthew Kofi Waldren does a superb job in capturing its melting pot of potent emotions and rich cultural influences.

The Times (September 2023)

But it was the music, interpreted with urgency and flair by the WNO orchestra, conducted by Matthew Kofi Waldren, that gave that sense of healing and comfort.

Nation Cymru (September 2023)

Golijov’s music is seductively played by the WNO orchestra, conducted by Matthew Kofi Waldren, in this one hour and twenty miniutes intoxicating performance.

Opera Scene (September 2023)

Alongside these outstanding principals, this latest incarnation of Ainadamar is featherbedded by the musical brilliance of the WNO Chorus and Orchestra under Matthew Kofi Waldren, and by a supporting cast of unimpeachable quality.

BachTrack (September 2023)

Conductor Matthew Kofi Waldren presided over the rich musical mix with great skill, drawing first-class playing from the WNO Orchestra.

Musical America (September 2023)

Conductor Matthew Kofi Waldren, and an orchestra packed with guitars, piano, percussion and more, relish this eccentric piece, happily augmented by electronica; sound designer Cameron Crosby havs a field day with all the heady, austere soundscapes added to the pot.

Today’s opera world is at its best when it incorporates other musical and dance styles, on an international plain; as barriers continue to be broken in the field, WNO’s Ainadamar stands as an impressive example of this inclusivity.

Buzz Mag (September 2023)

under Matthew Kofi Waldren’s baton the Orchestra of Opera North sounded magnificent and did him and it proud.

The Arts Desk (May 2023)

Under the baton of conductor Matthew Kofi Waldren the spellbinding soundscape, intricate harmonies and soaring choruses expertly captured the extremes of beauty and darkness.

Mag North (May 2023)

Matthew Kofi Waldren and his band eke out every fleck of colour from Bizet's score

The Times (May 2023)

Matthew Kofi Waldren’s orchestra is impeccable throughout, maintaining an even momentum.

The Stage (May 2023)

Under the guidance of conductor Matthew Kofi Waldren.... Backed by the excellent ON chorus and orchestra, they delivered another top-notch performance.

Yorkshire Times (May 2023)

Matthew Kofi Waldren exploits the score’s lyrical qualities expertly.

The Reviews Hub (May 2023)

...memorable arias and orchestration, expertly interpreted by the Opera North Orchestra under Matthew Kofi Waldren.

BachTrack (May 2023)

Conductor Matthew Kofi Waldren’s delivery, in this regard, was surefooted and insightful, highlighting both the score’s serenity and violence. His tempi accommodated the singers admirably and, despite the wide dynamics, there was ample allowance made for them to register vocally. The orchestra was alert and responsive throughout, with particularly beautiful, sympathetic contributions from the flute, cor anglais, horn and cello.

Leeds Living (May 2023)

Skilfully conducted by Matthew Kofi Waldren, the Opera North Orchestra manages to navigate the highs and lows of Bizet’s score with aplomb.

British Theatre Guide (May 2023)

There is some luscious playing in the orchestra, conducted by Matthew Kofi Waldren, not least from the harp. The recurrence of the duet melody, in its various guises, floats in and out of the action like a memory, a reminder.

The Opera Critic (June 2023)

Composer Tesori’s stylistically wide-ranging score is well played by the ENO orchestra under Matthew Kofi Waldren, who directs with precision and energy.

The Stage (April 2023)

Matthew Kofi Waldren conducts with total authority, as always; it seems like only yesterday that I was privileged to be on a jury which chose him as joint ENO Sir Charles Mackerras Conducting Fellow

The Arts Desk (April 2023)

Matthew Kofi Waldren conducts, complete master of all the score’s many musical genres, and with the Orchestra of English National Opera on top form, right down to the growliest contrabassoon.

Culture Whisper (April 2023)

Kofi Waldren conducts with considerable commitment and finesse. The playing is exemplary.

Guardian (April 2023)

ENO’s crack musicians squeeze every penn’orth from her score under the assured baton of Matthew Kofi Waldren, an unsung hero of UK opera conducting. ... Waldren’s conviction always carries the day, especially when anger and anguish – the composer’s strongest suits – are to the fore.

BachTrack (April 2023)

The house orchestra, conducted with fluency and precision by Matthew Kofi Waldren, performs with a supple sensitivity to the different genres of music in play.

Plays to See (April 2023)

The ENO orchestra are on a roll after the wide-screen triumph of Korngold’s The Dead City, and with Matthew Kofi Waldren conducting the dramatic line was never sacrificed. The climaxes were intense and tempi suited to the conversational metres of the libretto.

London Unattached (April 2023)

skilfully conducted by Matthew Kofi Waldren

iNews (April 2023)

masterfully written and performed, with Matthew Kofi Waldren making space for the swell of Jeanine Tesori’s score, and for quiet moments where every word needed to be heard.

Rhinegold (April 2023)

the orchestra under Matthew Kofi Waldren is on fine form

British Theatre Guide (April 2023)

all under the incisive musical direction of Matthew Kofi Waldren

The Article (April 2023)

Matthew Kofi Waldren conducted with evident love as well as efficiency and care.

Guardian (April 2023)

...a conductor at the top of his game...

I have enjoyed Matthew Kofi Waldren’s conducting on a number of occasions: in Puccini’s La rondine at Opera Holland Park in 2017, and again at that venue in 2019 for Verdi’s Un ballo in maschera. He was just as impressive here, attentive not only to his singers but wringing everything he could from Tesori’s score; the ENO Orchestra responded in kind.

Seen and Heard (May 2023)

British Ghanaian conductor Matthew Kofi Waldren exercised admirable control…in the Animato (which seems to a share a theme with Gershwin’s “I got rhythm”), the players let their hair down in a burst of pure musical adrenalin.

Musical America (July 2021)

Performed with élan here under conductor Matthew Kofi Waldren, it came across as a bold, wholehearted, popular showpiece, which draws on the rhythms and melodic progressions of the blues in much the same way the Dvorák drew inspiration from Native American music in his “New World” Symphony a generation earlier.

Financial Times (July 2021)

Playing with both gusto and refinement under conductor Matthew Kofi Waldren

Times (July 2021)

Waldren built the call and response of the second movement - a lyrical aubade with warbling winds and winsome celesta - to an impassioned climax before launching into the feel-good Allegro third movement, dubbed a “Juba”…it glitters with percussive effects including tambourine, woodblock, sandpaper, and castanets. Chineke! kept the buoyant momentum going right through the scherzo finale and it’s walloping closing chords

Musical America (July 2021)

Dove’s energetic music is a heady brew of minimalism, bright rhythms and astonishingly sensitive lyrical moments which the orchestra under conductor Matthew Kofi Waldren tackled with committed verve. The reduced forces were only occasionally noticeable, but still produced the visceral walls of sound required at high dramatic points, the three percussion players (Dove refused to compromise here) adding to the physical energy. Bright celesta, silver-stringed harp and sharp woodwind pointed up and coloured the score, Waldren driving the tempos along briskly, never letting the energy dim for a moment in the pit.

Bachtrack (March 2022)

the brand new reduced orchestration he has made for this production is superbly performed by the pit orchestra – actually 30 rather than the 19 Covid restrictions at one time demanded – under conductor Matthew Kofi Waldren. His tempi are brisk, but not a detail of the score was lost

VoxCarnyx (March 2022)

Most impressive of all was the RCS orchestra under Matthew Kofi Waldren, who provided [the] punchy, polished, rhythmically precise execution (shades of Bernstein)…”

Opera (July 2022)

Matthew Kofi Waldren’s splendid conducting of the West Green House Opera Orchestra puts the seal on a production of L’elisir d’amore that is just as delightful as it is undoubtedly dynamic.

Music OMH (July 2022)

Matthew Kofi Waldren directed the West Green House Orchestra with flair

Opera Today (July 2022)

Matthew Kofi Waldren leads the Orchestra in an account of the score that lightly sparkles but does not detract from the rapport among the singers, and so discreetly nudges along each change of pace or mood without portentous contrast.

Classical Source (July 2022)

With some 100 people on stage and some 60 instrumentalists in the pit, conductor Matthew Kofi Waldren is in secure musical charge of this vast enterprise. It’s an ambitious project that will undoubtedly have achieved many of its goals as well as showing WNO at its best.

The Stage (June 2022)

with the WNO orchestra on fine form, conducted by Matthew Kofi Waldren. A testament to the power of multicultural collaboration, Migrations pulses with life.

The Times (June 2022)

conductor Matthew Kofi Waldren marshalled all the WNO forces, plus the Renewal Choir community chorus, with great flair throughout; the participants’ joy was palpable.

Guardian (June 2022)

This work represents revolutionary operatic theater… It could very well reframe how opera is created going forward... Perhaps one of the most neo-Wagnerian works staged in some time… Conductor Matthew Kofi Waldren, director Sir David Pountney, composer and jazz pianist Will Todd, and six brilliant librettists were at the forefront of the collaborative giant

Opera Wire (July 2022)

Matthew Kofi Waldren conducted with authority, marshalling forces that included the Renewal Choir Community Chorus as well as WNO’s chorus and orchestra. Some singers of the ensemble cast were kept busy in more than one role: Aubrey Allicock and Brittany Olivia Logan were particularly impressive in theirs (two each), with Tom Randle making his presence felt in three of the strands.

Opera Magazine (September 2022)

conductor Matthew Kofi Waldren did a bang-up job

Buzzmag (Summer 2022)

Under Matthew Kofi Waldren’s baton, the 16-strong orchestra from the City of London Sinfonia sounded well-sprung, sensitively paced and, when the occasion demanded, surprisingly massive, but with fine filigree work from woodwinds and solo violin.

The Arts Desk (June 2021)

Under Waldren's sympathetic direction the music was always stylish and never pushed out of shape.

In the pit, City of London Sinfonia were somewhat reduced, but that didn't seem to matter. They and Waldren produced full-fat feeling music even if technically the music was low-fat. I continue to enjoy Waldren's way with this music, he allows the singers time without over indulging and keeps the pulse. These are performances which allow for Verdi's remarkable modernism but which acknowledge his debt to his predecessors.

Planet Hugill (June 2021)

superbly conducted by Matthew Kofi Waldren

Music OMH (June 2021)

The prelude—which takes its pulse from a brief sample of Violetta’s hollow, amplified breathing—sounds achingly beautiful under the baton of Matthew Kofi Waldren. Despite being reduced to chamber proportions, the orchestra responds very well to his taut, propulsive reading of the score.

Opera (August 2021)

Waldren is proving himself one of the most adept and dynamic young British Verdians

Sunday Times (July 2021)

Conductor Matthew Kofi Waldren marshalling the musical forces with consummate stylistic expertise…this is world-class opera. (5 stars)

The Stage (July 2021)

Matthew Kofi Waldren’s sensitive accompaniment (a pocket-sized string section sings like the Vienna Phil). (4 stars)

iNews (July 2021)

Music from the pit, under the baton of Matthew Kofi Waldren, was perfectly married with action on stage.

The Northern Echo (October 2019)

It is an incredible delight to hear the huge group of musicians filling the room with their swirling yet precise sound. Tonight’s conductor was Matthew Kofi Waldren and he kept a tight ship throughout.

North East Theatre Guide (October 2019)

In the pit, Matthew Kofi Waldren acted the necessary role of traffic policeman admirably, keeping the complex ensembles on track, yet he also ensured that everything fizzed with excitement. With such a small orchestra (16 strings, single woodwind and horn) this was a very lithe performance, which suited the young voices and Waldren tailored his approach to this. But there was also plenty that was expressive, and having the music zip along did not preclude some beautifully touching moments, with plenty of space for the singers.

Planet Hugill (July 2019)

Matthew Kofi Waldren conducts a sensitively paced account of the score, not driving the rhythms too hard, and timing the comedy well.

Classical Source (July 2019)

...conductor Matthew Kofi Waldren consistently achieves the essential Rossinian balance of exhilarating dynamism and buoyant grace.

The Stage (July 2019)

Matthew Kofi Waldren’s conducting is highly accomplished as he elicits an extremely smooth and balanced sound from the West Green House Orchestra, which plays Jonathan Lyness’ reduced orchestration, and effectively captures not only the rhythms of the music but of the piece as a whole in terms of its overarching momentum, themes and humour.

MusicOMH (August 2019)

Giving support to those above stage was the West Green House Opera Orchestra skilfully directed by Matthew Kofi-Waldron. He secured stylish playing throughout and steered well-judged tempi that brought buoyancy and plenty of excitement without compromising ensemble. Altogether, a thoroughly enjoyable evening.Giving support to those above stage was the West Green House Opera Orchestra skilfully directed by Matthew Kofi-Waldron. He secured stylish playing throughout and steered well-judged tempi that brought buoyancy and plenty of excitement without compromising ensemble. Altogether, a thoroughly enjoyable evening.

Opera Today (July 2019)

The comedy was built around a heroine of substance – this Angelina showed some spirit from the start – leaving space for tension, sentiment and tightly choreographed knockabout. Similarly, Matthew Kofi Waldren’s conducting consistently achieved the fundamental Rossinian balance of exhilarating dynamism and buoyant grace.

Opera Magazine (October 2019)

Matthew Kofi Waldren’s conducting built the tension superbly, marshaling his excellent cast and orchestra with an aggressive elegance that suited the opera.

Opera Now (September 2019)

Yet this sterling cast and orchestra remained unfazed – especially the orchestra. Matthew Kofi Waldren kept the City of London Sinfonia on a very tight rein and it responded with a the tautest ensemble imaginable. Here was a conductor with a very clear idea of what he wanted and determined to get it. Not that he was relentless with his singers: he allowed Anne Sophie Duprels plenty of leeway with Verdi’s rest in Amellia’s ‘Ma dall’arido stelo divulsa’, while keeping the orchestral interjections tidy. Quite how the orchestra managed to continue playing in this vein, finger numb with cold, remained a mystery, but the strings were full-bodied and the brass, complete with cimbasso, gleamed.

Opera Magazine (August 2019)

That's four stars for fortitude as well as finesse...Almost from first note to last the rain pelted on that canvas roof, creating a din that obliterated anything under mezzo-forte. That the rapport between the singers and the excellent City of London Sinfonia didn’t waver for a moment is a tribute to the admirable conductor, Matthew Kofi Waldren.

The Times (June 2019)

The ball scene with its bloody denouement, powered with tremendous verve by Matthew Kofi Waldren in the pit…

The Independent (June 2019)

Musically, this challenging middle-period Verdi left little to be desired, thanks to Matthew Kofi Waldren’s superb conducting of a mostly convincing cast...

The Sunday Times (June 2019)

Matthew Kofi Waldren, meanwhile, conducts with passion and sensitivity.

The Guardian (June 2019)

The City of London Sinfonia played Verdi’s epic score with effervescent brightness and a full-bodied bloom under Matthew Kofi Waldren...

Bachtrack (June 2019)

Conductor Matthew Kofi Waldren puts the City of London Sinfonia absolutely at the heart of Verdi’s scheming and yearning. There’s a spare, skeletal beauty to his Prelude, icy violin broken chords chilling the warmth of the cellos, and this spiky unease runs right through the performance, the music never fully surrendering or releasing into amorous comfort. The opening chords of Act I Scene II ring out like gunshots, and the chorus achieve a subtler menace in a magnificent final scene.

The Arts Desk (June 2019)

Waldren is a fine conductor, as his La rondine, the season opener in 2017, indicated, and he clearly has a very good feeling for Verdi, both in the felicities of scoring and in the larger picture.

Seen and Heard International (June 2019)

Orchestrally much of the distinct qualities of this score are evident. Matthew Kofi Waldren conducts a spirited and detailed account, and, in tandem with the cohesive staging, this is one of Opera Holland Park’s successful Verdian ventures.

Classical Source (June 2019)

Waldren has his finger on the pulse of Verdi and an unerring feeling for the music's inner beats and rhythms. Walking that tightrope between dragging and rushing is a gift and a skill that the audience can relax into, carried along at a rate that is as right and natural as your own heartbeat. Luckily, he has the City of London Sinfonia and the Opera Holland Park Chorus at his beck and call. There was such lovely solo playing from the pit on opening night , notably from the principal cellist, flautist and clarinet. Oh and all the rest...As for that chorus. You just want to take them all home...this is an outstanding production, musically, visually and theatrically.

Culture Whisper (June 2019)

Matthew Kofi Waldren, who impressed so much with his Traviata last year, exercises acute control over the pacing and ensures that we're enthalled. The musical temperature of each moment is brilliantly judged, and varied; and the passion is as much driven by rhythm as it is by melody or colour.

Opera Today (June 2019)

Musically it's exemplary... Underpinning it all is Matthew Kofi Waldren’s restless orchestra, an unsettling, Hitchcockian engine for this stylish tragedy.

The Spectator (June 2019)

Anyone doubting whether a conservatoire could summon the necessary style and fluency would have been quickly disabused by these performances. Standards of singing‚ acting and orchestral playing were uniformly high‚ with production values to match. So hats off first to Matthew Kofi Waldren for eliciting such alert and idiomatic responses from his musicians...

Opera Magazine (April 2019)

Matthew Kofi Waldren conducted a lively orchestra‚ the students taking the tricky pacing and balance in the Puccini in their stride. I have only seen the two-piano version by Britten of the Poulenc‚ so the full orchestration was a revelation with its lush harmonies (premonition of Carmélites)‚ sweeping phrases and many vignettes including a polka for the gamblers and a waltz for Thérèse.

BachTrack (January 2019)

What connects the two performances is an unstoppable sense of entertainment... Les Mamelles de Tirésias is spectacular in every sense‚ with outstanding performances across the board... Conductor Matthew Kofi Waldren’s orchestra comes fully to life in the Poulenc‚ as does everything.

The Scotsman (January 2019)

...the score sounded sumptuous under the baton of Matthew Kofi Waldren.

Opera Magazine (November 2018)

The pacing‚ musical preparation and orchestral playing were exemplary under ENO’s Mackerras Fellow Matthew Kofi Waldren.

BachTrack (September 2018)

Matthew Kofi Waldren – Mackerras Fellow at ENO – conducts with finesse...

Classical Source (September 2018)

Matthew Kofi Waldren conducts his admirable players with calm assurance...

Culture Whisper (September 2018)

But perhaps the biggest potential star of all is the conductor Matthew Kofi Waldren. I have been impressed with him at Opera Holland Park‚ and even more so here.

Daily Mail (September 2018)

The ENO musicians played marvellously for conductor Matthew Kofi Waldren.

Opera Canada (September 2018)

Conductor Matthew Kofi Waldren stitched together the eclectic idioms with fluency and brightly coloured zest‚ the orchestra (Britten’s revised instrumentation was used) tiered on stage and spilling into the side-aisles.

Opera Today (September 2018)

Matthew Kofi Waldren had perfect control between band and stage; unobtrusive‚ but most effectively judged.

Seen & Heard International (September 2018)

Matthew Kofi Waldren‚ a deserving former beneficiary of the company’s Mackerras Conducting Fellowship‚ is a perfect choice to draw a company together.

The Arts Desk (September 2018)

Matthew Kofi Waldren conducts with neat efficiency.

The Guardian (September 2018)

Musical standards‚ under the baton of Matthew Kofi Waldren‚ were excellent...

The Observer (September 2018)

Under the immaculate direction of Matthew Kofi Waldren — the straight man to Manton’s joker — the chorus gives it the full Broadway‚ triple threats to a man...It all adds up to a fine evening’s entertainment.

The Spectator (September 2018)

...while Matthew Kofi Waldren conducts a spick and span performance.

The Stage (September 2018)

...Matthew Kofi Waldren conducts the band with warm affection.

The Telegraph (September 2018)

With the band in front‚ percussion to the right‚ singers behind and chorus all around‚ the conductor Matthew Kofi Waldren keeps it all moving as tightly as he can.

The Times (September 2018)

The dynamic young conductor Matthew Kofi Waldren energises an ENO orchestra that’s been splattered over the Wilton’s walls...

What’s on Stage (September 2018)

The conductor Matthew Kofi Waldren has risen through the ranks to become an OHP regular‚ with good reason. He is stylish Verdian who knows how to maintain pace without forcing it; he has a keen ear for Italian colour‚ here delivered by the City of London Sinfonia with considerale panache; and he is naturally attentive to the singers’ needs.

Opera Magazine (August 2018)

Sterling work from the orchestra under Matthew Kofi Waldren’s baton underpins the whole. This music is full of colour and Waldren allows us to see and hear it all – assisted by the clear acoustic in this venue which places the orchestra on the level in front of the stage. The work from the brass during the deathbed scene is especially noteworthy.

Lark Reviews (June 2018)

In the pit‚ the hugely promising Matthew Kofi Waldren led a fine performance‚ with excellent support from his chorus and orchestra.

Mail On Sunday (June 2018)

The City of London Sinfonia under conductor Matthew Kofi Waldren plays the score with passionate verve. Absolutely not to be missed!

Sunday Express (June 2018)

The Opera Holland Park Chorus gave a lively performance and conductor Matthew Kofi Waldren drew a sensitive and balanced performance from the City of London Sinfonia.

BachTrack (May 2018)

Matthew Kofi Waldren has become an OHP regular‚ and with good reason. He has an innate sense of Verdian style‚ keeping momentum simmering and very clear about nuance and colour. He is very attentive to the singers’ needs‚ and is as persuasive in detail as he is in the big ensembles and Finales. This is Opera Holland Park at the top of its game.

Classical Source (May 2018)

La traviata is conducted with spirit and sensitivity by Matthew Kofi Waldren.

Culture Whisper (May 2018)

Matthew Kofi Waldren conducts the City of London Sinfonia with immense vigour and skill‚ and the result is an extremely strong and moving opening to Opera Holland Park’s 2018 season

MusicOMH (May 2018)

Matthew Kofi Waldren encouraged ever more responsive playing from the City of London Sinfonia and the precision in the final act was complemented by impassioned warmth. Waldren doesn’t hang about and that only serves to enhance the sure dramatic thrust established by Gaitanou and Chisholm.

Opera Today (May 2018)

In the pit Matthew Kofi Waldren drew a lithely expressive performance from the City of London Sinfonia. This was an admirably paced account of the opera‚ one which breathed and flowed but also had urgency to it…this production of La traviata made an engaging‚ sophisticated and musically satisfying start to the season‚ complete with vocal fireworks.

Planet Hugill (May 2018)

Musically‚ it’s extremely strong. Matthew Kofi Waldren‚ conducting the City of London Sinfonia‚ propels the score urgently forward‚ admirably avoiding sentimentality.

The Guardian (May 2018)

...Flora’s party goes like the wind‚ with its gypsy women straight out of a Toulouse-Lautrec poster‚ and powered by top-notch orchestral playing under Matthew Kofi Waldren’s direction.

The Independent (May 2018)

Having risen through the ranks to enjoy a burgeoning career‚ Anglo-Ghanaian conductor Matthew Kofi Waldren shows a keen appreciation of the drama inherent in Verdi’s music.

The Stage (May 2018)

Matthew Kofi Waldren‚ once a member of OHP’s chorus‚ has found his metier as a conductor and paints Verdi’s tensile phrases in particularly vivid colours.

The Times (May 2018)

Cards on Flora Bervoix’ table‚ this is the most distinguished new Traviata to reach London in years. Not only is it radiantly sung and splendidly played by the City of London Sinfonia under Matthew Kofi Waldren...

What’s on Stage (May 2018)

Matthew Kofi Waldren drew a first-class performance from the City of London Sinfonia‚ revelling in the glorious froth and whimsy of the score‚ occasionally threatening to overpower the singers early on in the performance‚ but highlighting so much of the sweeping beauty and orchestral detail of Puccini’s writing that one could sit there and wallow in that alone. As an opening to Opera Holland Park’s 2017 season‚ this was a resounding success.

BachTrack (June 2017)

Matthew Kofi Waldren‚ who has with good reason been nurtured by Opera Holland Park‚ has a clear idea of the score’s show-time versus high-opera inclinations. There were moments when the music sounded too driven‚ but there was plenty of warmth‚ detail and attention to the singers.

Classical Source (June 2017)

With two strong voices on the stage‚ conductor Matthew Kofi Waldren allows the City of London Sinfonia to raise its decibel levels above the average at Holland Park‚ and La rondine comes across as a more full-blooded opera as a result.

Financial Times (June 2017)

I don’t expect to see anything much better this summer than OHP’s opener… idiomatic conducting by Matthew Kofi Waldren – this a great start to what promises to be an exceptional season.

Mail on Sunday (June 2017)

Super musical direction of the City of London Sinfonia by Matthew Waldren brought the score fully to life‚ with excellent singing and choreographic action by the chorus.

MarkRonan.com (June 2017)

Matthew Kofi Waldren is excellent at steering the deft mood-changes and easy lilt of the score...

The Arts Desk (June 2017)

Matthew Kofi Waldren shows a fine Italian hand in the pit. With the chorus on fabulous form in the big set-piece ensembles‚ it all adds up to a glorious season opener.

The Metro (June 2017)

Conductor Matthew Kofi Waldren kept the tempi fluid and well paced. This was a buoyant start to a varied season.

The Observer (June 2017)

There’s lush support from the City of London Sinfonia under Matthew Kofi Waldren and the energetic Opera Holland Park Chorus.

The Stage (June 2017)

This swallow soars thanks to their stylish work on stage‚ effectively using the remains of Holland Park House as a backdrop for the Riviera act (with added disused swimming pool)‚ as well as to an idiomatic conductor‚ Matthew Kofi Waldren‚ who gets the City of London Sinfonia to wallow in Puccini’s lush‚ glittering orchestrations...

The Sunday Times (June 2017)

With Matthew Kofi Waldren conducting the City of London Sinfonia with warm affection and Martin Lloyd-Evans presenting a likeable staging updated to the Paris of the nouvelle vague era‚ this is an operatic confection that can be warmly recommended to anyone with a sweet-tooth and a soft heart.

The Telegraph (June 2017)

Matthew Kofi Waldren’s conducting is lithe and bright.

The Times (June 2017)

The ever-splendid City of London Sinfonia‚ whose annual residence is one of the company’s outstanding boasts‚ played the score for all its worth under Matthew Kofi Waldren’s elegantly energised baton.

What’s On Stage (June 2017)

And yet in many ways the night belongs to conductor Matthew Kofi Waldren‚ spinning a sparkling City of London Sinfonia like a top. One swallow may not make a summer‚ but this Rondine has certainly made mine.

Culture Whisper (June 2017)

a production that is wholly idiomatic and satisfying both musically and dramatically…The City of London Sinfonia is clearly in fine form this season. The brisk tempi and flexible rubato set by regular conductor Matthew Kofi Waldren kept things moving without putting the singers under unreasonable pressure in their most exposed moments…some exquisite points of solo detail from the harp‚ woodwind and percussion that serve to remind us how much of a pointillist craftsman Puccini was in his layered orchestration.

Live Theatre UK (June 2017)

...conductor Matthew Kofi Waldren demonstrated a superior empathy with Puccini’s late style and an easy command of the City of London Sinfonia in the pit.

Opera News (June 2017)

Matthew Kofi Waldren kept the ensemble scenes in the first two acts moving with vivid impetus‚ encouraging the orchestra to provide characterful‚ full-blooded drama which complemented the stage though occasionally I would have liked vibrancy to give way to something more relaxed. But in the duets‚ Waldren showed that he could balance things‚ allowing the singers to shape Puccini’s melodies. This wasn’t the most luxuriant account of the score‚ but the playing of the City of London Sinfonia brought out the vibrant colours and details of Puccini’s writing.

Opera Today (June 2017)

The City of London Sinfonia under Matthew Kofi Waldren gives a fine performance of Puccini’s evocative score.

The Express (June 2017)

Matthew Waldren‚ conducting the City of London Sinfonia‚ led a full-blooded‚ big hearted‚ open-air performance...

Opera Magazine (August 2016)

The musical performance is also first rate – Matthew Waldren conducting a fine and loving account of the score with verve and the City of London Sinfonia responding in kind.

Classical Source (June 2016)

The City of London Sinfonia forms the orchestra‚ and the conducting of Matthew Waldren‚ who was recently awarded an ENO Charles Mackerras Fellowship‚ reveals a keen eye for detail and balance while still capturing something of the sweeping nature of Puccini’s enigmatic score.

MusicOMH (June 2016)

Waldren conducts with real passion.

The Guardian (June 2016)

Matthew Waldren conducts an account that is as perceptive in realising the detail of Puccini’s score as it is surefooted in overview. He energises the alert musicians of the City of London Sinfonia.

The Stage (June 2016)

In general this is a vigorous show‚ driven by firm voices‚ a conductor‚ Matthew Waldren‚ with a clear grip‚ and a very crisp City of London Sinfonia.

The Times (June 2016)

The crisp playing of the City of London Sinfonia under Matthew Waldren is arrestingly good‚

What’s On Stage (June 2016)

Matthew Waldren provided assured direction to the cast‚ orchestra and chorus throughout... Waldren and the City of London Sinfonia provided a flexible and richly coloured accompaniment.

Seen and Heard International (June 2016)

In the pit‚ the City of London Sinfonia played the well-crafted score for all it was worth‚ while conductor Matthew Waldren explored and extolled its many subtle French niceties.

OperaNews (November 2015)

Matthew Waldren got the orchestra in the right zone of ethereal foofla‚ and any longueurs were certainly down to Delibes.

Opera Now (October 2015)

That the evening hung together so well was down to Matthew Waldren’s conducting‚ which brought out the score’s well-mannered colours‚ its nudges into drama and its sensuousness‚ with excellent playing from the City of London Sinfonia. Even Waldren‚ though‚ has his work cut out keeping our attention in the two-hour stretch of Acts 1 and 2‚ but he kept his cool in a style that drifts from ballet prettiness into bel canto and dabs of Impressionism.

Opera (September 2015)

Conductor Matthew Waldren whipped up a storm from the City of London Sinfonia when needed‚ but also found space for the chamber sonorities of the many delicate instrumental solos – especially from the flute and other woodwinds. It was a real pleasure to see the full orchestra rather than losing them to view in a conventional pit‚ and the good balance between singers and players throughout the evening confirmed the wisdom of this decision.

British Theatre (August 2015)

Matthew Waldren and the City of London Sinfonia played Delibes’ fragrant orchestrations to the manner born.

Opera Britannia (July 2015)

There’s consistently impressive playing from the City of London Sinfonia‚ while conductor Matthew Waldren maintains a focused eye on the music’s expressive aims...Verdict; Conducted with distinction by Matthew Waldren.

The Stage (July 2015)

Matthew Waldren led a vivid account of Delibes’ colourful score‚ sparkling nicely in the Opéra Comique style choruses and the quintet for the Brits in Act II.

BachTrack (July 2015)

The excellence of the performance is rounded out by elegant and sensitive singing from the Opera Holland Park Chorus‚ and an assured contribution from the City of London Sinfonia that responds ably to Matthew Waldren – the pathos of that ‘Flower Duet’ owing in no small part to the alertness of his conducting.

Classical Source (July 2015)

Matthew Waldren gets clean playing from the orchestra.

Financial Times (July 2015)

...the superb playing of the City of London Sinfonia under conductor Matthew Waldren.

Independent (July 2015)

Under conductor Matthew Waldren‚ City of London Sinfonia manages a convincing French accent.

London Evening Standard (July 2015)

This opera is full of wonderful moments to which Matthew Waldren in the orchestra pit gave great effect with a mix of liveliness‚ charm and solemnity.

MarkRonan (July 2015)

Matthew Waldren conducts superbly‚ keeping everything balanced and precise‚ which is not easy given both the tented area’s acoustic and the specific demands of this opera.

MusicOMH (July 2015)

Delibes’s Lakmé – the opera about the Hindu priestess and her intoxicated lover‚ the British officer Gerald – almost flew by on the second night of Opera Holland Park’s new staging‚ thanks to terrific musical standards...Given that the first two acts before the interval at Opera Holland Park last exactly two hours‚ any sense of lift-off was some achievement on the part of all involved: Matthew Waldren conducting‚ with zestful‚ finely shaped playing from the City of London Sinfonia.

Observer on Sunday (July 2015)

There was certainly considerable attention to the detail‚ and a sustained‚ thoughtful expressiveness to the instrumentalists’ phrasing; the individual voices could be clearly heard‚ as if characters in the opera — and it certainly sounded as if the players cared about the music...conductor Matthew Waldren was in full command of the details.

Opera Today (July 2015)

Musically‚ the opera works beautifully. The City of London Sinfonia under conductor Matthew Waldren captures the lushness of the score.

Sunday Express (July 2015)

Under Mathew Waldren the City of London Sinfonia played remarkably well.

Sunday Times (July 2015)

Its scene-painting is atmospheric‚ its melodies are sensuous‚ its orchestration lush‚ its pace languorous – and it is to the credit of Matthew Waldren that his shapely conducting doesn’t soup or whip it up factitiously. The City of London Sinfonia plays every note lovingly.

Telegraph (July 2015)

[the] expert baton of Matthew Waldren‚ conducting a very fine City of London Sinfonia with some first-rate wind solos and wacky timpani playing from Tristan Fry in the Act Two divertissement.

The Arts Desk (July 2015)

Musically‚ everything is at a consistently high level. Matthew Waldren conducts crisply and the City of London Sinfonia’s playing is full of good things.

The Guardian (July 2015)

The City of London Sinfonia‚ conducted by Matthew Waldren‚ lap up every woodwind caress and piquant phrase.

The Spectator (July 2015)

Matthew Waldren conducts a handsome account of this heavily upholstered score.

The Times (July 2015)

Derivative hokum though it is‚ those ravishing melodies carry it along and this crisp‚ hurtling account by Matthew Waldren and the City of London Sinfonia runs an electric charge through Delibes’ score.

What’s On Stage (July 2015)

The music is also contrived to work well out of doors. Much of it is cunning underscoring that does not interfere with the projection of the text to the audience. But there is also a great deal of stylistic variation – plenty of Latin‚ Calypso and Jazz rhythms and many echoes of familiar composers – for example‚ the Bernstein of West Side Story. There is plenty of tongue-in-cheek pastiche‚ always elegantly carried off. The twelve-piece orchestra has a lot to do: it gets us going with a lively scene-setting overture and there are plenty of characterful solos in what follows. It is no easy task for conductor Matthew Waldren to manage these disparate forces in the open air and on the move‚ but he set lively tempi and managed to keep everyone together without any visible problems.

British Theatre (August 2015)

The ‘Alice band’ delivers a rich soundscape.

Bargain Theatre Land (July 2015)

The live orchestra sparks a bit of outdoor magic into the performance.

A Younger Theatre (July 2015)

Tunefully engaging‚ Todd’s work combines wit and charm in equal measure‚ even finding sonic equivalents for Carroll’s lyrical flights of literary fancy‚ along with beguiling melodies‚ all played soaringly by an ensemble of 11 players under conductor Matthew Waldren‚ and sung beautifully by a first-rate cast.

FlipSideReviews (December 2015)

There is strong support from...the tightly-knit contribution of the makeshift band under the lightly-worn authority of Mathew Waldren’s baton.

Opera (December 2015)

The cast...and orchestra‚ conducted by Matthew Waldren‚ put on a good show.

Gramaphone (July 2015)

Conductor Matthew Waldren draws bright‚ breezy playing from his orchestra.

Music Web International (July 2015)

Matthew Waldren conducts the 11 piece orchestra with aplomb‚ and recorded in the studio we get to appreciate far more of the detail in Will Todd’s orchestration.

Planet Hugill (July 2015)

Conductor Matthew Waldren holds the 11-piece ensemble together with panache and fizz.

Sinfini Music (July 2015)

It has bags of energy and colour

Telegraph (July 2015)

...you can admit to yourself‚ at home with a drink-me glass of merlot or two‚ that it’s not just toddlers who’ll enjoy Todd’s music...On record‚ all words are crystal clear‚ supported by a small but colouful orchestra that includes an accordian and sax.

The Times (July 2015)

The music matches the libretto in style: modern classical sounds give way to elements from music hall or jazz for certain sections in Will Todd’s beautifully-crafted score. It is well judged for the venue and the forces and rightly doesn’t compromise on complexity for a young audience‚ with some superb ensembles...Outdoor acoustic performances are notoriously hard to balance for sound but this mostly succeeded here...the ensemble and tuning were excellent‚ particularly considering the spaces across which performers were working‚ with the attentive but not noiseless audience sometimes positioned in between the cast and orchestra.

BachTrack (July 2014)

Another bravo goes to the orchestra‚ who have to run after the actors during scene changes in order to provide a musical background...We are quite sure this opera will be back on stage at Holland Park next year as well — seeing how brilliant it is.

Londonist (July 2014)

A thoughtfully selected and wonderfully conducted (Matthew Waldren) 11 piece musical group (strings‚ some brass and wind‚ percussion and the addition of a valuable‚ and unusual‚ accordion) we’re at the usual standard of music an audience can expect from this company.

The Public Reviews (July 2014)

The 11-piece orchestra of glorious strings knit together with more unusual sounds from the accordion‚ saxophone and flute.

The Upcoming (July 2014)

Conductor Matthew Waldren and his 11-strong orchestra do a sterling job in the heat‚ the music always delivered with gusto and skill.

Views from the Gods (July 2014)

From the first attention grabbing chord‚ the City of London Sinfonia under Matthew Waldren revelled in every jokey phrase and bouncing rhythm.

Opera (August 2014)

(The overture) zipped along vivaciously with raucous woodwinds and spirited percussion contributions.

BachTrack (June 2014)

The Overture was generously shaped and fully anticipated all the mischief waiting in the wings...he looked after the singers well and built up a fine Act one finale.

Classical Source (June 2014)

The Overture was generously shaped and fully anticipated all the mischief waiting in the wings...he looked after the singers well and built up a fine Act one finale.

MusicOMH (June 2014)

Conductor Matthew Waldren led the City of London Sinfonia through a sparkling overture...there was much attention to detail...the string ensemble was good‚ and the woodwind and horn solos sang warmly.

Opera Today (June 2014)

The musical directing [is] superb and the performance provides all the hilarity you could expect from Rossini‚ and sometimes more.

Plays To See (June 2014)

Matthew Waldren did a great job in keeping the arias and big set piece numbers on track. I loved the orchestra’s mock heroics‚ playfulness and winning exuberance in the overture (the woodwind section were particularly good). Waldren provided a very attentive accompaniment to the principals and set piece numbers were superb – I loved the way the the Act 1 finale was allowed to build nicely into a frothy‚ riotous piece of high camp.

Seen & Heard International (June 2014)

The City of London Sinfonia responded well to Matthew Waldren’s baton‚ his apt tempo choices and a persuasive musical momentum. The strings were on gleaming form.

What’s On Stage (June 2014)

Matthew Waldren was ably in control‚ getting a fine performance from the instrumental ensemble and ensuring the whole show ran without a hitch.

Planet Hugill (August 2013)

The orchestra was the highlight of the evening. The music‚ composed by Brian Hosefros‚ ws absolutely fantastic; a breath-taking blend of mainly strings and woodwind‚ resulting in haunting melodies which were very tense at times. The strings were plucked‚ macabre and insect-like...Conductor Matthew Waldren was captivating to watch [displaying] confidence with the chillingly evocative pieces.

Plays to See (August 2013)

Matthew Waldren’s sympathetic music direction went a considerable distance in making this a very cultivated Pecheurs...The conductor Matthew Waldren did well to avoid the saccharine in a score with such a penchant for prettiness‚ and I much admired the way in which he folded in the reappearances of the the big duet tune to give the drama an unexpected sense of direction and psychological truth. The City of London Sinfonia’s playing was responsive and stylish.

Opera (September 2013)

Matthew Waldren takes it all very seriously and draws attractive playing from the City of London Sinfonia.

The Daily Telegraph (June 2013)

The music provides a host of situations in which to display some of the fondest harmonic and orchestral subtleties - all of which are nicely brought to the fore in the current Opera Holland Park production by the City of London Sinfonia under the young baton of Matthew Waldren...By any measure‚ the best performance came from the orchestra. It was there‚ in the pit‚ that Bizet’s eclectic score tried hardest to come out fully in all its various‚ intermingling‚ contrasting facets‚ supplying...musical cunning.

BachTrack (June 2013)

The City of London Sinfonia...under Matthew Waldren‚ a dynamic musician who won his spurs at OHP as an exceptional chorus-master between 2009 and 2011. It is typical of this company to keep faith with its home-grown talent and the young conductor repaid the investment handsomely. He shaped Bizet’s score with great sensitivity‚ alive to its exotic colours‚ and keen to display the melodic orchestrations to their best advantage. The players responded with style....Pace and dynamics were ideal: Waldren is a talent to watch.

Classical Source (June 2013)

It would be disastrously bad form to not mention the evocative playing of the City of London Sinfonia‚ conducted by Matthew Waldren. The young conductor brought out the subtleties of Bizet’s score with aptitude seemingly beyond his years: tempi were well chosen--especially for that oh-so-famous duet/theme that runs rampant throughout--and he led the chorus through their difficult moments with style.

Musical Criticism (June 2013)

Throughout the evening Matthew Waldren drew lovely playing from the City of London Sinfonia.

Opera Britannia (June 2013)

The City of London Sinfonia summoned up a surprisingly rich array of tints and shades under the proficient baton of Matthew Waldren. The woodwind and string soloists rose admirably to their respective challenges and there was some wonderfully soft playing from the horns.

Opera Today (June 2013)

Les Pecheurs de Perles‚ a musical treat under the baton of Matthew Waldren.

Oxford Times (June 2013)

Conductor Matthew Waldren was highly sympathetic accompanist. He didn’t drag things out and allow the big tunes to become self-indulgent‚ but he allowed the singers great flexibility which counted a lot towards our enjoyment. Hearing a fine singer shaping a line and bringing small rubatos to phrases is one of life’s pleasures in this sort of music. Waldren was aided and abetted by the City of London Sinfonia‚ who brought great style to their performance. Les Pecheurs is [an] opera which critics love to chunter about. But here‚ Waldren and Platt [dir.] paid it the compliment of taking the work seriously. They and their cast performed it with winning directness which was rightly popular with the audience.

Planet Hugill (June 2013)

Conductor Matthew Waldren directs an efficient reading‚ getting lovely clarity from the strings and some beautifully blended work from the horns‚ and musically this is an enjoyable evening...Meantime‚ it’s a show worth hearing.

The Arts Desk (June 2013)

Matthew Waldren extracts some very fine singing and playing from his chorus and orchestra‚ whose violist‚ oboist and harpist rise nobly to their respective challenges...musically it’s pretty much the biz.

The Independent (June 2013)

In the pit‚ the conductor Matthew Waldren...has an ear for Bizet’s silky textures and is a steady hand.

The Times (June 2013)

But it’s conductor Matthew Waldren and the City of London Sinfonia who best exploit the score’s lush sonorities and provide the evening’s richest pleasures.

Time Out (June 2013)

Bizet’s The Pearl Fishers‚ which closed last weekend‚ was a musical delight from start to finish‚ conducted by young Matthew Waldren.

What’s On Stage (June 2013)

Under conductor Matthew Waldren‚ the City of London Sinfonia sang their way through Mascagni’s score‚ giving the long breathed melodies life.

Planet Hugill (July 2012)

The changes of mood in the musical paragraphs and the instrumental colourings which accompanied them were allowed to register without undue haste...Matthew Waldren conducted what amounted to a chamber orchestra with restraint and refinement.

Classical Source (July 2012)