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Monteverdi’s L’Orfeo, Brighton Early Music Festival, November 2017

***** ‘a delight… the setting, the 1960s’ Brighton of Quadrophenia complete with parkas and cigarettes, is inspired… a strange but subtle dislocation between stage and the accompanying 400-year-old music forces you to hear Monteverdi’s music as something fresh… exuberant and engaging’ (Brighton Argus)

’the 1960s Brighton setting was inspired, and it was the most moving announcement of Eurydice’s death I have seen’ (audience reaction)

Schubert’s Winterreise, Princeton Festival of the Arts, USA, October 2017 

‘amazing…extraordinary…wonderful…absolutely compelling’
(BBC Radio 3)

***** ‘audaciously expressive, chilling and thrilling’ (Sunday Times)

***** ’an extraordinary experience’ (Opera Now)

‘I feel like most performances of Winterreise succeed at making you really depressed but don’t really achieve the heart palpitations that are built into the music and the story (lots of low, not enough anxiety), and today I got both, in the best way. Frühlingstraum actually made me cry’ (audience reaction)

‘unbelievably gorgeous, best Winterreise I’ve heard/seen’ (audience reaction)

’I’ve been listening to this piece for 60 years, and I feel I’ve learnt more about it in one evening than in all that time’ (audience reaction)

Mozart’s Magic Flute (revival director), Royal Opera House, September 2017 

**** ‘The audience’s engagement throughout Thomas Guthrie’s razor-sharp revival was remarkable, a sure sign he’s got things right… his recreation is outstanding’ (What’s On Stage)

**** ‘It just gets better and better … with a few delightful tweaks by revival director Thomas Guthrie, it produces a perfect balance between humour, mysticism and drama’ (Express)

**** ‘A splendid revival of a great production of a wonderful opera’ (Sunday Express)

Bizet’s Carmen, Prison Choir Project, Dartmoor Prison, July 2017

***** ‘I’ve seen some gripping performances of Carmen, but not one like this’ (The Times)

Mozart’s Magic Flute, Longborough Festival Opera, July 2017

***** ‘Simply one of the most delightful, most dramatically and musically arresting performances of this opera imaginable… an ample, moving and at times profound staging using clear and minimalist means. Not once does anything seem wrong or out of place. I found myself reacting with breathtaking delight throughout, as well as considerable emotional engagement’ (Plays to See)

**** ‘Dreams and reality blur, puppets and people intermingle and a fairytale comes to life in this imaginative new production of Mozart’s singspiel… For their charming new production for Longborough Festival Opera, Thomas Guthrie and Ruth Paton take a leaf out of classic childrens’ books to send us tumbling into a fantastical world’ (The Times)

**** ‘Magic feels real here, thanks to the skilful use of puppetry throughout the evening, as well as a faithful, traditional approach to the work itself’ (Bachtrack)

**** ‘An evening that sparkles and moves, in every sense, looks stylish and works beautifully on the musical level’ (Arts Desk)

Bach’s St Matthew Passion, York Early Music Festival, July 2017

‘well judged, increasing dramatic expressiveness and drawing attention to Bach’s mastery in commenting on the action, without ever becoming inappropriately theatrical… a thoroughly enjoyable evening: an unusual take on a great masterpiece… performed with authority, discipline and integrity’ (York Press)

‘SAL:VEH’, National Youth Choir of Great Britain , Royal Festival Hall, London, April 2017

Mozart’s Die Schuldigkeit des ersten Gebots and Apollo et Hyacinthus, Classical Opera Company, London, March/June 2017

**** ‘The production was nimble and effective.. wonderful fun’ (Observer)

**** ‘an unmixed pleasure.. unfussily effective, Classical-era staging by Thomas Guthrie.. the real deal’ (Arts Desk)

**** ‘kept things simple.. allowing the vigour of Mozart’s score to speak out with vivid immediacy’ (Classical Source)

‘entirely ego-free.. a true love of the music placed in the forefront.. a compact, delightful time’ (Schmopera)

Alehouse Boys, Barokksolistene dir Bjarte Eike, 2010-present

‘the latter tune is carried magnificently by singer Thomas Guthrie, whose approach to lyric is informed by his own love of theater, and makes its presence felt in a smattering of standalone ditties, elegies, and sea shanties… whether turning down the lights in his inflection of the Anglo-Scottish border ballad “Lord Randall” or sharing a gender-bending duet with Per T Buhre as Corydon and Mopsa from Purcell’s “The Fairy-Queen,” he brought out the vocal qualities of the other players, just as they coaxed instrumental qualities from within himself… these “Alehouse Sessions,” in both recorded and live form, are exemplary in their ability to melt the cages of censorship into tenderer weapons of humanity… here is music that asserts itself as a commodity only of the heart, fermented with just the right amount of personal expression it until it goes down smoothly like a pint ripe for the palate’ (Tyran Grillo in Rootsworld on the New York City sessions in Subculture Oct 11 2017)

***** ‘…sung by Thomas Guthrie with a rhapsodic freedom, the other players following his every twist and turn like a row of trees bending in unison to the same breeze… completely inauthentic, and completely convincing… such effortless casualness doesn’t come easy: Barroksolistene have been working on this project for almost 10 years, and the performances had a wonderful sense of being thoroughly lived in… the variety of tone and texture was astonishing, ranging from very naughty folk-songs (puritans hate sex too, so it had to feature at some point), to delicate dance tunes with a modal tang, from as far afield as Shetland and Norway… the whole joyous evening was a liberation, carrying us back to a time when the terms “classical” and “folk” hadn’t yet been invented, and music was simply music’ (Daily Telegraph)

Murmartinstein, Bergen Opera, ‘Mimi Goes Glamping’ and Ulvsnesøy Prison, August and December 2016

See here for Mary Miller’s blog

Mrs Mozart, Bergen Opera, August and October 2016

 

Rossini’s Barbiere di Siviglia, Royal Opera House, September 2016 (revival director)

**** ‘Thomas Guthrie’s reworking of Leiser and Caurier’s 2005 production is tremendous fun’, Guardian

**** ‘Now, as revived by Thomas Guthrie, the show fizzes because of its wonderfully assured performers’, Times

ROH Thurrock Community Chorus 5th Anniversary Gala, July 2016

‘I LOVE you guys’ (Tom Guthrie)

Mozart’s Nozze di Figaro, Longborough Festival Opera, July 2016

 

***** ‘highly evocative… strong, cogent production’ (Plays to See)

**** ‘economy of means… very likeable’ (Classical Source)

**** ‘simple, warm production’ (Bachtrack)

‘intelligent… convincing… many flashes of humour… thought-provoking… Mozart speaking to the world of today’ (Seen and Heard International)

‘thoughtful, dynamic’ (MusicOMH)

‘canny choice of setting, elegantly rendered’ (Spectator)

‘fizzes with joyous interaction’ (Musical Opinion)

GOTcompany’s Real Life Actually installation, Brighton Festival, May 2016

‘more meaning to my present life than I could ever describe in words here’

‘bold/radical in its simplicity, intimacy and informality’

‘creative, moving, a beautiful expression of death’ (audience feedback)

Purcell’s Dido and Aeneas, Sestina, Northern Ireland, April 2016

‘truly excellent’, Belfast Telegraph

‘compelling, alluring, and gently devastating, a triumph for the power of the collective in an almost full house worthy of its presence’, The Big List

Mozart’s Cosi fan Tutte, RNCM, March 2016

 

‘director Thomas Guthrie has created a fascinating take on Mozart’s Così Fan Tutte… highly effective, true to its original and up-to-date at the same time’, Manchester Theatre Awards

‘seriously effective… one might easily imagine it gracing Glyndebourne’, Seen and Heard International