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REVIEWS

"Olivia Rose Tringham, her soprano ringing and malleable and her consonants trenchant, was a force to be reckoned with."
 - Opera Magazine

Opening the show in style, Ailish Tynan, Olivia Rose Tringham and Charlotte Bateman are as classy a shoal of Rhinemaidens as you’d find anywhere in the world.

Ailish Tynan, Olivia Rose Tringham and Charlotte Bateman make a winsome trio of Rhinemaidens.

Elsewhere there are fine turns, including the three Rhinemaidens (Ailish Tynan, Olivia Rose Tringham and Charlotte Bateman), who command the prelude.

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British soprano Olivia Rose Tringham as Female Chorus is the standout singer of the show and a future star. A graduate from the National Opera Studio, now an ENO Harewood artist, her voice is of thrilling intensity, with good pianissimi and almost too powerful for the venue. 

Olivia Rose Tringham was a highly dramatic and forceful Female Chorus with a bright and clear top line, who owned the space she was given. Words were sometimes spat out like bullets, heightening the dramatic momentum, though in the female quartet towards the end of Act 1, she tended to dominate her colleagues. When Tarquinius appears at the Collatinus household a short time later, still only wearing his underpants, and bangs on a metal pole to signal his arrival, Tringham’s rich and warm chest register brought a delicious sense of irony in the reference to “Prince of Rome”. 

Male Chorus (the focussed, sensitive Daniel Gray Bell) and the outstanding Olivia Rose Tringham as Female Chorus. Their duet towards the end of the second act will linger in the memory. 

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Olivia sang with a strong opening, well controlled swells and clear melodic lines. She demonstrated good (and unobtrusive) breath control, a requirement of this choice of programme with its long lines, a need for gracefulness and sustained notes. As the songs dictated, she skilfully moved from rhythmic to flowing, pensive to provocative, melancholic to chirpy, conveying each with a readiness which reflected her immediate rapport with the audience, who, rightly, responded with enthusiasm.

Most surprising and successful was the partnering of Olivia Rose Tringham and Luvo Maranti in L’amico Fritz where Tringham’s formidable, dramatic soprano, paired well with Maranti’s soaring, Italianate tenor. 

The Act II Trio from Weber’s Der Freischütz (in English) was a good vehicle for British soprano Olivia Rose Tringham to show off a warm voice which soars easily and suits the role of Agatha.

The finale was from Mascagni’s l’Amico Fritz (it should be performed more!) Olivia Rose Tringham’s Suzel showed off her generous soprano, with a good chest register. 

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 Tringham is a really accomplished stage artist and comic actress, singing superbly and spot on the beat without ever seeming to have to eyeball the conductor to do so (not all young singers can manage that, especially in a piece as dependent on slick timing as this), and she raps out the dialogue like a showbiz veteran.

Standing out from the cast is Olivia Tringham in the role of Rosalinde. A woman looking for excitement in her humdrum marriage to Eisenstein, Rosalinde has set her sights on plumber Alfred. A highly assured actor and singer, Tringham certainly makes a considerable impression. I am left with the memory of Rosalinda attending the party in a scarlet ball gown as Miss Budapest.

Olivia Tringham shone grandiosely as Rosalinde. Her warm soprano rolled effortlessly over Strauss’s score, particularly when she was singing about her fake Hungarian homeland in mock Eurovision style while in disguise as “Miss Budapest.” And she’s a genuinely good comic actress.

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Olivia Tringham gave Fanny Price a real sense of being centred and grounded, there was a real solidity to her and we felt the sharp power of her observations. 

Soprano Olivia-Rose Tringham’s, clear and powerful voice resounded from the very heights of the nave.

Olivia Tringham as Mother Marie backed her in iron-edged support.

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It is very difficult to pick out anyone specific, but dramatically and vocally Olivia Tringham emerged very powerfully in the role of Mére Marie, creating a character both stern and powerful, yet maternal and eminent.

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REPRESENTATION: LAWRENCE KERSHAW, THE MUSIC PARTNERSHIP // IG: @LIBERELLAZWISCHENFACH

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