Excerpts and links to recent critical reviews are posted here.
For previous reviews, please see Opera Lafayette: Fifteen Years of Musical Artistry .
"...a delighted audience at Gould Hall on Wednesday night had Opera Lafayette to thank for presenting a rarity in such a beguilingly simple production, directed by Nick Olcott, with a winning cast."
Anthony Tommasini, The New York Times, May 28, 2015 on Opera Lafayette's production of L'Épreuve Villageoise. Read Full Review
"More power to Opera Lafayette and its founder and conductor, Ryan Brown, who sensitively led the orchestra, for managing to bring a personal and somewhat eclectic dream to a wider audience."
Anne Midgette, The Washington Post, May 31, 2015 on Opera Lafayette's production of L'Épreuve Villageoise. Read Full Review
"So kudos to Opera Lafayette, the intrepid Washington, D.C.-based company that specializes in 18th-century French opera, for mounting Les Fêtes... one of their most imaginative productions ever..."
Heidi Waleson, The Wall Street Journal, October 13, 2014, on Opera Lafayette's production of Les Fêtes Read Full Review
"[Les Fêtes] explodes on stage... all in the resplendent service of extolling the power of love – and music-theatre."
Susan Galbraith, DC Theatre Scene, October 8, 2014 on Opera Lafayette's production of Les Fêtes Read Full Review
" ...ravishingly sung by Emiliano Gonzalez Toro. Marianne Fiset is supremely elegant in the title role, and there are strong, sharply characterised performances from Nathalie Paulin and Bernard Deletré ..."
Tim Ashley, The Guardian, April 10, 2014, on Opera Lafayette's recording of Lalla Roukh Read Full Review.
"[Conductor Ryan] Brown is to be commended for bringing this captivating work so brilliantly back to life and into our consciousness."
Marvin J. Ward, Classical Voice North America, April 25, 2014, on Opera Lafayette's recording of Lalla Roukh Read Full Review.
"Bringing little-known 18th-century French opera to the Opéra Royal at the Château de Versailles takes audacity and confidence... Opera Lafayette, based in Washington, has done it twice.”
D.C.’s early-music company Opera Lafayette repeats the history that’s been forgotten
"On paper, it sounds kind of crazy and wildly ambitious. On the stage, this French “Cosi” was nothing short of delightful...hands-down one of the most enjoyable. I wish everyone who loves Mozart had a chance to see it."
-Anne Midgette, The Washington Post, October 20, 2013, on Opera Lafayette's October 18, 2013 performance of Così fan tutte. Read full review.
"Opera Lafayette bounded onto the stage at the Terrace Theatre this week offering a “post-modern” baroque opera that was both elegant and fresh...this production was served shaken with a twist...There's singular grace here delivered with not an ounce of tension."
"Opera Lafayette presented a graceful and witty production...a glowing cast of singers...exquisite musical moments."
-Corinna da Fonseca-Wilheim, The New York Times, February 3, 2013, on Opera Lafayette's January 31, 2013 performance of David's Lalla Roukh. Read full review.
"This production should be noted and remembered in the annals of Versailles, for the intelligence of its staging, the beauty of its sets, and its high musical quality.'"
"The early music scene in our region -- the early music scene, period -- is particularly fortunate to have Opera Lafayette as a major player.'"
"Opera Lafayette ... has built a sterling reputation through specializing in rarities by Gluck, Grétry and the like.... On [October 30] the company mounted an economical event with oversize appeal: a concert featuring French singers ... in a mix of French and Italian works at Weill Recital Hall ... their ranges converging and crossing is selections from Lully's 'Atys' and Charpentier's 'Circé.' They concluded the concert with a scene from Monteverdi's 'Incoronazione di Poppea,' then returned to offer the splendid final duet from that opera 'Pur ti miro.'"
-Anthony Tommasini, The New York Times, May 19, 2011, in a review of the American Classical Orchestra's May 18, 2011, performance of Grétry's Richard Cœur de Lion. Read full review.
"[Opera Lafayette] returned to the Rose with a real find ... beguiling music ... Grétry's score abounds in lyrical grace and imaginative strokes.'"
-Anthony Tommasini, The New York Times, February 11, 2011, on Opera Lafayette's February 9, 2011, performance of Grétry's Le Magnifique. Read full review .
"Opera Lafayette ... underlined its own unique place in Washington's, or even America's, cultural life."
-Anne Midgette, The Washington Post, May 26, 2010, on Opera Lafayette's May 24, 2010, performance of Philidor's Sancho Pança. Read full review.
"That Gluck's magnificent 1777 'Armide,' a seemingly flawless masterpiece, continues to be a rarity is inexplicable. ... It was presented by Opera Lafayette, an adventurous period company in Washington celebrating its 15th season. ... Mr. Brown conducted a stylish and flowing performance, with an admirable cast headed by the lustrous soprano Dominique Labelle in the title role. ... Rose Hall was filled for this performance. The time has come for Gluck's 'Armide.'"
-Anthony Tommasini, The New York Times, February 4, 2010, on Opera Lafayette's February 3, 2010 performance of Gluck's Armide. Read full review .
"On February 3, at Lincoln Center's Rose Hall, a sold-out house witnessed one of the most musically rewarding evenings yet of New York's opera season. The Washington-based baroque music group Opera Lafayette, founded and led by conductor Ryan Brown, presented a musically sparkling, intelligently conceived concert reading (with dances) of Gluck's Armide."
-David Shengold, Opera News Online, May 2010 on Opera Lafayette's February 3, 2010 performance of Gluck's Armide. Read full review.