I Capuleti e i Montecchi 2018 – Opera Holloway on Tour
Of these, soprano Callie Gaston stood out with her intense, emotive acting, exceptional vocal technique and sheer musicality. Not only had she mastered her gargantuan part in Italian, but she had the stamina to hold centre stage all the
way through to the final gut-wrenching double suicide scene.
Trevor Howell – The Henley Standard
Cosí Fan Tutte 2017 – Opera Holloway on Tour
We always enjoy soprano Callie Gaston’s fine articulation in this repertoire and here again, as Fiordiligi, her fast passages were excellent.
Amanda Beard – The Henley Standard
Fogonogo 2017 – Spitalfields Music
Translated review from Danish Newspaper, ‘Stiften’, by Kirsten Dahl:
Listening to Brathwaite singing the baritone and Gaston the soprano makes you happy. Bergonzi’s rhythms makes the universe smile and Glazer’s cello sounds creates warmth and air.
Don Pasquale 2016
“This was a vivacious performance – the coloratura with its virtuosic leaps and runs handled lightly through the fast passages and the top notes were spot on’.
“of particular note was the comical cute of Malatesta and Norina as they scheme to trap Don Pasquale… Gaston showed her versatility here , changing character with every turn of the head as she took on the challenge of enticing the old man to marry her.”
Mandy Beard – The Henley Standard
La Scala di Seta 2015
“Special mention should go to Callie Gaston who demonstrated real vocal agility with the leaps, runs and trills of the coloratura”
Mandy Beard – The Henley Standard
I Capuleti e i Montecchi 2015
Her acting and interpretation of the commanding role by the would-be bride to be Giulietti (Callie Gaston) was excellent, her soprano voice blended well with Romeo`s mezzo soprano
Betty Haslam – NODA Review
Evariste 2015
“Callie Gaston, Claire Bournez and Christian Valle sing operatically and move like dancers, and, together [with] a small ensemble, produce a highly dramatic opera that grabs the audience’s attention ”
Mary Grace Nguyen – LDNcard.com
Reviews of Opera Erratica’s five-person cast for Triptych at The Print Room and at Wilton’s Music Hall as part of the Spitalfields Festival 2014:
“Superb performances from all.” 4* Richard Morrison, The Times.
“The cast’s excellent singing voices…I cannot wait to see more of their work.” Guy Dammann, The Guardian.
“The cast is exemplary in their execution. The young singers (Catherine Carter, Lucy Goddard, Kate Symonds-Joy, Callie Gaston and Oskar McCarthy) tackle not just precise ensemble singing that provides the majority of the music, but all the while enacting intense and comic drama in three very different pieces. They’re all names to look out for.”
4* Jonathan Lennie, TimeOut.
“It helps that the five singers of Opera Erratica are all so agile of body and voice, and that they have achieved such a complete mastery of the score’s intricacies. Catherine Carter, Lucy Goddard, Callie Gaston, Kate Symonds-Joy and the sole male, Oskar McCarthy, give pitch-perfect performances against pre-recorded accompaniments.”
Mark Valencia, What’s On Stage.
“The Opera Erratica company clearly has significant vocal talent” Bachtrack.
“A superb company of performers—Catherine Carter, Kate Symonds-Joy, Lucy Goddard, Callie Gaston and Oskar McCarthy—offer everything the piece demands. The singing is exceptional, especially in
the face of a score of such unusual complexity.” Alexandra Coghlan, Opera, July 2014
Die Fledermaus 2014
“Rosalinde’s charade as a Hungarian Countess were for me the highlight of this act, along with the glorious singing generally.”
NODA Review by John Fox
Callie Gaston 