Last chance for Carousel at the Coliseum!

It’s your last chance to see MKAM’s marvellous David Charles Abell at the helm of the superb ENO orchestra, chorus and cast in Carousel at the Coliseum (final performance May 13th).  Here are just a selection of his outstanding reviews:

‘Musically, it may indeed leave you giddy: the orchestra’s handling of the score, under conductor David Charles Abell, is glorious — delicate, sweeping, witty.’ Financial Times
‘The almost excruciating loveliness of the score is brilliantly served by David Charles Abell’s symphony-sized orchestra.’ The Independent
‘ENO’s chorus and orchestra are rousingly conducted by David Charles Abell.’ The Telegraph
‘There is absolutely magnificent work of the ENO chorus and orchestra (big shout-out to suave conductor David Charles Abell).’ Time Out
‘There’s no question that the musical qualities in this show are exemplary with a full-blooded and even fuller-bodied orchestra of 40, visible throughout on a elevated orchestra pit, giving the musical texture and heft under the baton of David Charles Abell.’
‘The joyful wonders of the ENO orchestra, led by David Charles Abell, builds applause that’s worthy of great praise also.’ Gay Times
‘One of the delights of a piece like this being presented by English National Opera is the resulting strength of the musical credentials. The ENO chorus is on top form, while the orchestra, standing in a raised pit, is far larger than the purse strings would ever permit for a lengthy West End run of the show. Under the baton of David Charles Abell, who also conducted Fiddler on the Roof at Grange Park Opera in 2015, it enables certain lines to be appreciated in a way that it is difficult for them to be in many other performances of the work.’
‘What truly sets this production of Carousel apart is the visual (and aural) prominence afforded to the full ENO Orchestra, sat in their raised pit. The melodies are the finest in the canon and under David Charles Abell’s baton, as the timeless Carousel Waltz plays out it is entirely possible to consider that this may be the classic score’s most glorious realisation on this side of the Atlantic, if not ever.’ Jonathan Baz Reviews

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