Reviews

Garsington’s chorus, under the brilliant direction of Susanna Stranders, just gets better and better.

musicomh.com, July 2017 (for Semele, Garsington Opera)

The chorus, directed by Susanna Stranders, has crisp energy and precision.

Independent, July 2016 (for The Creation, Garsington Opera)

Crowning it all is the young and shattering chorus, superbly trained by the excellent Susanna Stranders…

theartsdesk.com, June 2016 (for Idomeneo, Garsington Opera)

The work of Susanna Stranders in training the Garsington Chorus had clearly been thorough and well directed; choral singing proved lithe and weighty, as required…

Opera Today, June 2016 (for Idomeneo, Garsington Opera)

…and Susanna Stranders on piano and celesta—luxuriate in the innovative, often erotic textures of Britten’s part-writing. Each player faces an intimidating task, and each player delivers a performance of distinction.

Voix des Arts, January 2014 (for Turn of the Screw recording, LSO live)

He gives his LSO players absolute freedom when they need it, starting with pianist Susanna Stranders – spacious and nuanced, later an equally subtle celesta player.

www.sinfinimusic.com, December 2013 (for Turn of the Screw recording, LSO Live)

But may I dare to suggest that this is the organisation’s greatest triumph so far? Although most of the cast were amateurs, this was a highly professional production with the music overseen by a formidable lady conductor.

Seen and Heard International, July 2013 (for Garsington Community Opera, Road Rage, as conductor)

…in particular the piano and celesta were luminously played by Susanna Stranders, who had also served as both répétiteur and vocal coach for these renditions.

www.classicalsource.com, April 2013 (for Turn of the Screw, LSO)

Susanna Stranders moved from the piano to celesta, spinning eerie lines whenever Peter Quint made a ghostly appearance. Each instrumentalist performed with the conviction and character of a soloist, and none was less than outstanding.

www.instantencore.com, April 2013 (for Turn of the Screw, LSO)

Susanna Stranders… made an auspicious debut as company music director, achieving a secure vocal-instrumental balance.

Opera, September 2012

The reduced orchestra did without trumpets and trombones, and had a seductive chamber-music quality, very well played, with Susanna Stranders, the opera coach and accompanist making her conducting debut, working wonders with pace and ensemble.

www.classicalsource.com, June 2012 (For Magic Flute, as conductor)

Christine Rice’s account of the Borodin folk songs with Paul Watkins’s cello and Susanna Stranders’s piano was superb, drawing shouts and prolonged raucous applause from the normally-reserved Wigmore Hall audience.

Chamber Music Today, November 2010

Underpinning it all was the vibrant piano playing of Susanna Stranders.

Reg Burnard

Their performances were enhanced by the skilled and sympathetic accompaniments of… Susanna Stranders.

ITG News

Throughout the recital Susanna Stranders consistently proved herself to be a versatile and original accompanist, but in this piece she truly came into her own as a fine, stylish and exuberant pianist.

Robin Saikia

La qualité de la pianiste accompagnatrice et directrice musicale de la soirée, Susanna Stranders, n’est sans doute pas étrangère à cette réussite.

Arnaud Laster (recital for the Festival Victor Hugo et Egaux, 2008)

…Begleitet von der großartigen britischen Pianistin Susanna Stranders

Seckau Kultur

…and another highlight from the pit comes courtesy of Susanna Stranders’ imaginative fortepiano continuo.

Opera, November 2009 (Così fan tutte, Glyndebourne on Tour)

The recitative was given real intimacy through the continuo playing of Susanna Stranders that neatly underlined the vocal part.

Seen and Heard International, July 2006 (Young Artists Showcase, Royal Opera House)

Susanna Stranders, herself a répétiteur at the Royal Opera House, has been a wonderful accompanist throughout the project.

New Devon Opera, 2005

Reviews

Garsington’s chorus, under the brilliant direction of Susanna Stranders, just gets better and better.

The chorus, directed by Susanna Stranders, has crisp energy and precision.

Crowning it all is the young and shattering chorus, superbly trained by the excellent Susanna Stranders…

The work of Susanna Stranders in training the Garsington Chorus had clearly been thorough and well directed; choral singing proved lithe and weighty, as required…

…and Susanna Stranders on piano and celesta—luxuriate in the innovative, often erotic textures of Britten’s part-writing. Each player faces an intimidating task, and each player delivers a performance of distinction.

He gives his LSO players absolute freedom when they need it, starting with pianist Susanna Stranders – spacious and nuanced, later an equally subtle celesta player.

But may I dare to suggest that this is the organisation’s greatest triumph so far? Although most of the cast were amateurs, this was a highly professional production with the music overseen by a formidable lady conductor.

…in particular the piano and celesta were luminously played by Susanna Stranders, who had also served as both répétiteur and vocal coach for these renditions.

Susanna Stranders moved from the piano to celesta, spinning eerie lines whenever Peter Quint made a ghostly appearance. Each instrumentalist performed with the conviction and character of a soloist, and none was less than outstanding.

Susanna Stranders… made an auspicious debut as company music director, achieving a secure vocal-instrumental balance.

The reduced orchestra did without trumpets and trombones, and had a seductive chamber-music quality, very well played, with Susanna Stranders, the opera coach and accompanist making her conducting debut, working wonders with pace and ensemble.

Christine Rice’s account of the Borodin folk songs with Paul Watkins’s cello and Susanna Stranders’s piano was superb, drawing shouts and prolonged raucous applause from the normally-reserved Wigmore Hall audience.

Underpinning it all was the vibrant piano playing of Susanna Stranders.

Their performances were enhanced by the skilled and sympathetic accompaniments of… Susanna Stranders.

Throughout the recital Susanna Stranders consistently proved herself to be a versatile and original accompanist, but in this piece she truly came into her own as a fine, stylish and exuberant pianist.

La qualité de la pianiste accompagnatrice et directrice musicale de la soirée, Susanna Stranders, n’est sans doute pas étrangère à cette réussite.

…Begleitet von der großartigen britischen Pianistin Susanna Stranders

…and another highlight from the pit comes courtesy of Susanna Stranders’ imaginative fortepiano continuo.

The recitative was given real intimacy through the continuo playing of Susanna Stranders that neatly underlined the vocal part.

Susanna Stranders, herself a répétiteur at the Royal Opera House, has been a wonderful accompanist throughout the project.

**…in particular the piano and celesta were luminously played by Susanna Stranders, who had also served as both répétiteur and vocal coach for these renditions.**