The Duchess of Padua (The Space, E14, Feb 2024)
Broadway World ⭐️⭐️⭐️⭐️ "A fascinating take on an almost forgotten and rarely performed play, Edward Lambert’s Duchess of Padua is packed full with stunning music that brings Oscar Wilde’s early epic of love and revenge to life. Lambert’s music is spot on, fusing a traditionally dynamic Bel Canto score without feeling the least bit dated. It is always dramatic and flows seamlessly… glimpses of stunning beauty in the love-focused duets and arias... a tight score that never drops the excitement, Lambert’s gothic-inspired music fits so well, and the performers do such a strong job, that it is difficult not to enjoy it." Bachtrack "Lambert has embraced the Gothic style and sentimentality of this tale of love and murder effectively, with an ode to the human voice… the melodrama was delicious and ...this is a slick and stylised production.” The Reviews Hub ⭐️⭐️⭐️⭐️ "This is a new opera based on traditional foundations but using very modern music. For passionate opera fans, having something so new should come as a welcome joy… it’s well worth seeking out. Newbury Today “In writing more than a dozen chamber operas, Lambert aims to prove that opera need not be “elitist, expensive and stuck in the past." His Duchess is a modern triumph, rich with allusions to mainstream opera, layered with meaning and gripping throughout. His use of limited resources is masterly, with particularly telling sparing use of the piano at moments of high emotion… This was a performance of the first rank, at village hall prices, so could not be more accessible.” |
The Wildean (journal of The Oscar Wilde Society, London) "Lambert’s work injects vitality into this overlooked piece, presenting a captivating exploration of love and vengeance through vibrant music. The chamber opera is enriched with mesmerizing melodies that revive Wilde’s early narrative of passion and retribution... His faithful adaptation skilfully navigates between the melodramatic and sentimental elements of the plot, revealing its unexpected contemporaneity... Lambert skilfully embraces the gothic ambiance and emotional depth of the narrative, paying homage to the expressive power of the human voice... The modern-style score propels the narrative forward and enhances the dramatic impact...The musical composition seamlessly transitions between sombre, vengeance-laden moments, and tenderly poignant love sequences, offering a tightly woven score that sustains its allure throughout... I view Lambert’s The Duchess of Padua as a masterful and vigorous operatic endeavour, deserving of wider recognition. Lambert’s approach adeptly translates Victorian melodrama to the operatic stage and promises to leave a lasting impact."
Masque of Vengeance (The Cockpit & StollerHall)
“Lashings of intrigue, lust, deception, and a stage filled with corpses at the end – just another night at the opera, really…. Though staged in modern dress, it was very in keeping with the spirit of “The Revenger’s Tragedy”, and well worth seeing.” (Number 9, November 2023) "... a taut and driven eighty minutes in which there is very little dead time. Powered along by a dynamic, pulsating score for piano duet, with soaring bel canto vocals and dramatic recitatives, there was never a dull moment to be experienced... Enlivened by the excellent, committed cast, and the clear, purposeful stage directions, this was a pacey, exciting production with a real sense of momentum building through the various set pieces towards the thrilling, and extremely bloody, climaxes. Lambert's stated aims, to create an Italian opera, a classical opera, were clearly followed through, with definite divisions of the music into arias, duets, and wonderfully complicated and polyphonic finales, such as one might find in the works of Rossini or in Mozart's da Ponte operas. Filled with driving, relentless repeated chordal figures twisted into syncopated dance rhythms, the music for the piano duet at times seemed to conjure the spirit of Phillip Glass, and then to present grimly twisted parodies of baroque dance forms. Another resounding success from the ever-busier pen of Edward Lambert, and certainly a work deserving a wider audience and repeated staging." (Planet Hugill, November 2023) |
The Burning Question (The Cockpit & King's Head Theatre)
" ... a complex, layered story about love, loss, self sacrifice and sin. Lambert's approachable, but contemporary musical style revealed his huge experience in writing for voices over his long career, varying from parlando banter and expressive bel canto arias, through polyphonic show-stoppers, to tightly harmonic four-part chorales. And despite a sprinkling of Italian phrases mixed with the English text, the entire libretto was transparently audible and easy to follow throughout... This marvelous evening's entertainment was a delicious and unexpected cocktail of frothy cappuccino and sparkling prosecco, spiked through with hot peperoncini – an absolute delight from start to finish." (Planet Hugill, September 2022) (The production) "is a real company, thoroughly professional, affair from The Music Troupe, which can and maybe should provoke deeper thoughts, yet which can also certainly be enjoyed as a piece of fun on the surface." (Seen and Heard International, February 2023) "Masks, opera singing [sic], witty one-liners; The Burning Question is a fun musical opera... (which) delivers the comedic opera we are promised, including impressive vocal performances and an unafraid approach to movement." (The Reviews Hub, February 2023) |
Apollo’s Mission (The Place)
“An amazing mash-up of myth and science… presented in a fast paced manner with the scenes overlapping and inter-cutting, and the hard-working cast of six singers and two dancers playing multiple roles. Lambert's music moved between the popular and the more serious… This was a terrific ensemble show… the sheer pell-mell nature of the piece and its deliberate car crash of competing facts and fantasies was rather appealing.” (Planet Hugill, August 2019) |
The Cloak and Dagger Affair (RADA Studio)
“Brave and baffling new operatic worlds”. “At its best, the short opera festival offered sophisticated glimpses of the future of the genre… Edward Lambert’s adaptation and setting of a Lorca play in the Music Troupe’s The Cloak and Dagger Affair for three voices and piano was more musically sophisticated, exploiting the physical exertions demanded by extravagant ornamentation to create a score whose eroticism was often visceral.” (The Guardian, 09/08/2018) “…Edward Lambert’s beautiful melodic writing, with some particularly rapturous trios. Inspired by Lorca’s use of eighteenth century music in his original, Lambert translates the play into a bel canto opera, including three lyrical erotic songs in Spanish. While the music offers much in the way of loveliness, and it’s an entertaining listen, the opaqueness of the narrative leaves the ending perplexing…” (operissimawhispers.com) “More traditional in form and presentation, perhaps, or at least differently allusive to opera’s past, Edward Lambert’s The Cloak and Dagger Affair, based upon his own adaptation from Lorca’s Amor de Don Perlimplín con Belisa en su jardin… intriguingly offered elements (at least) of bel canto vocal writing to vie with a more ‘modern’ idiom in his piano writing (and playing), showing us, not unlike Stravinsky, that the smallest changes can sometimes have one listen in a very different way indeed. Pulcinella perhaps inevitably came to mind as this re-imagination of a re-imagination of the commedia dell’arte worked not inconsiderable magic. Excellent performances, once again, from all concerned.” (boulezian.blogspot.com) |
The Art of Venus (RADA Studio)
✩✩✩✩ “Packing all the punches - As a feminist call to arms, The Art of Venus may chill the stomachs of an audience with its visceral punch, but it’s undeniably timely and relevant. Edward Lambert’s score felt sumptuously melodic, as well as busily fresh, with strong, intensely written passages building to moments of euphoric surprise. I walked out feeling as though my head had just been dipped in an ice-cold bucket of gin and tonic: shaken, astonished, and utterly exhilarated.” (operissimawhispers.com) |
The Catfish Conundrum (Kings Place)
“Brilliantly bonkers, thought-provoking satire. A Festival highlight for me.” (@lovearhyme at Tête à Tiete Festival, 10/08/2014) “There is a sublime moment when the catfish sings a prayer – ‘Sanctus’ – while resigning herself to her fate, her pretty voice barely a whisper over the strings’ rippling accompaniment.” (Francesca Wickers, Fringe Opera) "...a rather quirky and entertaining piece which had a very real point to make. Lambert's music is tonal but complex, there are tunes but the music never talked down to you. His vocal lines sounded interesting but singable. There was something of process music about his instrumental writing, he liked setting up figures and letting them run, but he managed to get some remarkably fascinating and complex textures from his quite minimal forces. Performances were admirable, and all the singers had great charm and stage presence, bringing off their various roles and creating a quirkily entertaining ensemble, but one with a point." (Planet Hugill) |
Six characters in search of an stage (Kintbury & Brighton)
✩✩✩✩ "Bite sized opera strikes gold... An impressive debut with all the ingredients of a full length opera... all played out in just 55 minutes, This rich mix of interlocking characters bring their theatrical performances to an intense climax of pain and despair. There is much to commend this lively production..." (remotegoat.com) "Lambert's music ...is always strongly directional and full of emotion... This was a fabulous piece of theatre... great entertainment, thought-provoking and not too long, presented to a very high standard." (Newbury Weekly News) ✩✩✩✩✩ "This short opera succeeds in holding the attention of the audience due to its fast pace, stylish production...and Lambert's strikingly lively score". (Jill Barlow on Planet Hugill) |
A young, first-time opera-goer wrote:
“Came to your opera the other night - by the way was really cool ! Having never been to an opera before… this was completely different to how I expected - even down to the singing style… I enjoyed it a lot because of this. The way I look at opera has definitely been altered. I would approach other pieces with an open mind and a view that opera is in fact a flourishing and contemporary art form.” (Josh, student, at Opera With A Title, Kings Place, 2015) |
More audience feedback...
The Burning Question' was my first opera. As such, I didn't know what to expect, but I'm glad I went - I was entertained throughout, despite being unfamiliar with the format. It was very expressive, i.e., the actors (and singers) were really into it, and the singing was spot-on. The staging was minimal but still gave a good sense of what was taking place, and it felt well-paced. Attending 'The Burning Question' has removed a preconception of a) it being stuffy b) that you have to have received an upper-class education to appreciate or enjoy it c) that it can’t be fun! (Greg .B.) I’ve never been to an opera before I really loved the show and would love to see more. (Tom T.) I, we, really enjoyed the performance. I think it was the first time I've seen a live opera and it was a highly enjoyable experience. It showed me that opera doesn't have to be big and grandiose for it to be epic. All of the drama, comedy and friction was simply packed into a concise 40 minute performance, in a small and well suited venue. The story was really well told, with excellent musical and acting performances from the cast. The venue, The Cockpit, was a great setting for the size and production of the show. Based on the one-off performance that we saw, I would happily go again support any such future events. (Martin G.) |
The Burning Question was my first ever opera experience and I enjoyed it immensely. As a complete newcomer I wasn't sure what quite to expect, but I found myself completely immersed in the story and music of the piece and was pleasantly surprised by how humorous the whole thing was too. It made me feel keen to see more opera as a whole, something which I hope to do again soon. (Jordan G.) It was my first opera and it was funny, delightful and really entertaining. Incredible singing and wonderful storytelling. I definitely want to see more. (Naomi B.) A fabulous introduction to opera, a wacky and wonderful story that has you gripped and giggling from the start. With the ancient pope dying in the lift all sorts of antics can begin. The music and singing is captivating leaving these first time opera goers wanting more! (Carry W.) I absolutely loved The Burning Question! I’d never been to an Opera before, so I wasn’t sure what to expect – but I found it to be hugely accessible, interesting, funny and entertaining. I’ll 100% be returning for more! Modern Opera has a new 20-something fan thanks to Edward Lambert. (Phoebe R.) |
The Visit to the Sepulchre (Newbury)
“…a musical delight but a dramatic one too. This wonderful, original score drew the audience in from the start and we relished being swept along on that very journey,,, an uplifting and unforgettable evening.” (Newbury Weekly News) |
The Oval Portrait (Newbury & The Brunel Museum)
“Bite-sized operas go down a treat - The music itself is a riveting kaleidoscope of different textures and colours… Such was the span of the narrative that most of us hardly breathed for the duration.” (Newbury Weekly News) “...the delivery (was) compellingly urgent. The Book’s polyphonic opening - rather like a Renaissance motet - was controlled and the entries clear. The homophonic repetitions emphasising the painter’s neglect of his young bride as she sat in the dark turret for many weeks while his gaze was fixed on his easel - he did not see that “the light in that lone turret/ Withered the health and spirits of his bride who pined visibly to all but him.” - became increasingly disturbing, and confirmed Lambert’s effective text-setting.” (Claire Seymour, Opera Today) |
All in the Mind (Britten Theatre)
The large cast of over a hundred represented 30 local schools and included primary schoolchildren who had been given bursary support to enable them to take part. And this company likes a challenge. Edward Lambert’s score and libretto are certainly demanding for the young singers, even more so than previous productions I have attended…The writing is tonally complex, often with large leaps in the melodies for the singers to negotiate. (Marion Friend, April 2005) What an ambitious project! It was really encouraging to see so many young people clearly enjoying themselves. (Rodney Slatford, Yorke Trust) The amazing energy, vitality and enthusiasm of all concerned enabled W11 Opera to triumph yet again. Plenty of adults would have been defeated by such tricky music, but the deep well of musicianship that your precious outfit has nurtured has meant that the children were able to take the difficult score in their stride and deliver a fabulous evening… Visually All in the Mind was stunning… and altogether the effect of the piece on me was of delight and exhilaration. (Dr Robert Asher) The opera was amazingly ambitious! Very difficult music, but what an experience for those kids to get to perform something like that. The Earthling chorus was wonderful, as was Nic, and there were some superb moments in it. A beautiful production and marvellous orchestration. Quite fascinating to see… (Starr Shippee) |
The Parting (Hungerford)
“…a mesmerising performance of this short opera, translated from text by Lorca. The principal characters' voices were interspersed with synthesised children's voices, generated from an iPad controlled by the conductor/composer. The combination of Latin-American rhythms in the piano part, the sadness of the wife whose husband is leaving and some very beautiful harmonic writing had the audience transfixed.” (Newbury Weekly News, October 2018)
The Button Moulder (Oundle)
"Lambert has drawn on a variety of musical styles... there are twists and turns of folk music, evocative yet never quite definable; there is the pounding pulse of rock, the melodic parallels and earthy rhythms of the Middle Ages. There is a full battery of percussion and electronic keyboards... to say that the project is a far-reaching community effort is to give little idea of the flair and professionalism with which the cast carry off this fully-fledged opera... there are ritual dances, too, nearly always allied to the production's most memorable set pieces... well worth the booking."
(The Times)
"Ibsen's everyman lends itself naturally to the persona of the boastful self-centered teenager. But Lambert's opera... turned out to be far from the narrow contemporary morality it so easily could have become... the opera's strength lay in the toughness and economy with which it used its disparate resources... the sung dialogue was lithe and muscular, floating free of accompaniments as rich and varied as Ibsen's verse. Duets and ensembles were uncompromisingly written, and there was as much work for a recorder beginner as for a violin virtuoso. [Dances] contributed to the work's own powerful pacing...the evening's undoubted coup de théåtre is the madhouse scene... a manic impressario/dictator puts his cast of drop-outs, intellectuals and artists through a series of turns as chilling in their movement as in their music."
(Opera magazine)
... a pretty impressive accomplishment...the entire cast seemed to pulsate...the asylum which had all the trappings of a lethal TV game show let students deal with topics that have some depth...opens up the world of opera to students. ..what was most enjoyable was watching young people take so enthusiastically to an admittedly difficult art form.
(The Press and Bulletin, Binghamton, USA)
Chamber Concerto (Lontano/Bath Festival)
I do not remember a more consistently gripping concert of modern chamber music than the one given by Lontano under Odaline de la Martinez in the Pump Room during the opening weekend of the festival...
David Cairns in the Sunday Times 10/6/84
Edward Lambert’s Chamber Concerto appeared most approachable, with mainly conventional ideas being used to generate excitement from the sheer virtuosity of the ensemble. There was no descent into the cliche common among so many contemporary concertos for orchestra. Interposed among the passages of thematic decoration here were episodes when the ensemble coincided in statements, in octaves, or finally, Stravinskian dance rhythms. Here, above all, in this concert, the playing of the Lontano team was superbly coordinated and gripping.
Meirion Bowen in the Guardian 28/5/84
Edward Lambert’s Chamber Concerto, a new piece, with its mangled trumpet-and-drum fanfares and violent conflicts between striding unison lines for strings and wind was strikingly imagined and very well played.
Nicholas Kenyon in The Times 28/5/84
Emplay (Purcell Room)
Edward Lambert's piano quartet "Emplay" … certainly presented in its reworking of ideas from Brahm's Piano Quartet Op. 60 some of the most inventively-textured and syntactically original music of the evening.
Anthony Payne in the Daily Telegraph 28/4/83
“…a mesmerising performance of this short opera, translated from text by Lorca. The principal characters' voices were interspersed with synthesised children's voices, generated from an iPad controlled by the conductor/composer. The combination of Latin-American rhythms in the piano part, the sadness of the wife whose husband is leaving and some very beautiful harmonic writing had the audience transfixed.” (Newbury Weekly News, October 2018)
The Button Moulder (Oundle)
"Lambert has drawn on a variety of musical styles... there are twists and turns of folk music, evocative yet never quite definable; there is the pounding pulse of rock, the melodic parallels and earthy rhythms of the Middle Ages. There is a full battery of percussion and electronic keyboards... to say that the project is a far-reaching community effort is to give little idea of the flair and professionalism with which the cast carry off this fully-fledged opera... there are ritual dances, too, nearly always allied to the production's most memorable set pieces... well worth the booking."
(The Times)
"Ibsen's everyman lends itself naturally to the persona of the boastful self-centered teenager. But Lambert's opera... turned out to be far from the narrow contemporary morality it so easily could have become... the opera's strength lay in the toughness and economy with which it used its disparate resources... the sung dialogue was lithe and muscular, floating free of accompaniments as rich and varied as Ibsen's verse. Duets and ensembles were uncompromisingly written, and there was as much work for a recorder beginner as for a violin virtuoso. [Dances] contributed to the work's own powerful pacing...the evening's undoubted coup de théåtre is the madhouse scene... a manic impressario/dictator puts his cast of drop-outs, intellectuals and artists through a series of turns as chilling in their movement as in their music."
(Opera magazine)
... a pretty impressive accomplishment...the entire cast seemed to pulsate...the asylum which had all the trappings of a lethal TV game show let students deal with topics that have some depth...opens up the world of opera to students. ..what was most enjoyable was watching young people take so enthusiastically to an admittedly difficult art form.
(The Press and Bulletin, Binghamton, USA)
Chamber Concerto (Lontano/Bath Festival)
I do not remember a more consistently gripping concert of modern chamber music than the one given by Lontano under Odaline de la Martinez in the Pump Room during the opening weekend of the festival...
David Cairns in the Sunday Times 10/6/84
Edward Lambert’s Chamber Concerto appeared most approachable, with mainly conventional ideas being used to generate excitement from the sheer virtuosity of the ensemble. There was no descent into the cliche common among so many contemporary concertos for orchestra. Interposed among the passages of thematic decoration here were episodes when the ensemble coincided in statements, in octaves, or finally, Stravinskian dance rhythms. Here, above all, in this concert, the playing of the Lontano team was superbly coordinated and gripping.
Meirion Bowen in the Guardian 28/5/84
Edward Lambert’s Chamber Concerto, a new piece, with its mangled trumpet-and-drum fanfares and violent conflicts between striding unison lines for strings and wind was strikingly imagined and very well played.
Nicholas Kenyon in The Times 28/5/84
Emplay (Purcell Room)
Edward Lambert's piano quartet "Emplay" … certainly presented in its reworking of ideas from Brahm's Piano Quartet Op. 60 some of the most inventively-textured and syntactically original music of the evening.
Anthony Payne in the Daily Telegraph 28/4/83