Thomas Payne led the ROH orchestra through a light-footed rendition of the opera which, with the pianissimo strings tingling and buzzing, whipped up some energy for the entrance of Michael Mofidian’s Figaro.
Claire Seymour – Opera Today
Thomas Payne’s conducting of the overture to Le nozze di Figaro,spry of line and fleet of foot, seemed more to the liking of the ROH Orchestra (and certainly to mine) … than the company’s current revival.
Mark Valencia – Bachtrack
I must celebrate the work of Loughborough’s small, yet redoubtable, chorus of sailors, fishermen, and villagers who sang out lustily throughout. Their chorus master, Thomas Payne, deserves a lot of praise for what he has achieved with them.
Jim Pritchard – Seen and Heard International
I loved the Overture on account of the tempo chosen by conductor Thomas Payne. It was not rushed, as so often it is; every note was crystal clear. Surely Mozart did not write his sparkling notes only for effect, they were meant to be heard (as we heard them on this occasion)
Agnes Kory – Seen and Heard International
But there are three star turns in this production and two of them are collectives: the luminous orchestra and Thomas Payne’s outstandingly versatile chorus.
Mark Valencia – What’s on Stage
This was a cracking performance of Tchaikovsky’s fifth symphony….Thomas Payne’s interpretation was clear-headed and attentive to the symphony’s structure, providing symmetry between the first and last movements which is surely what Tchaikovsky wanted.
Norman Stinchcombe – Birmingham Post
Some of the best conducting I’ve seen in years.