World Premiere of Graun’s Montezuma, Festival of Two Worlds, Charleston, 1988

“Oliver Gilmour skilfully conducted the orchestra –made up mostly of modern instruments.” — The New York Times

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Le nozze di Figaro, Festival dei Due Mondi, Spoleto.

“Gilmour is a very remarkable and intuitive interpreter.” — Gian Carlo Menotti

“Gilmour’s skilful conducting impressed….” — The New York Times

“Nozze perfeta – buona direzione di Gilmour. Gilmour’s conducting, evidently planned in agreement with Menotti, was both fluent and attentive” — La Stampa, Italy

“What warmth, what sweetness, what melancholy –this atmosphere I heard maybe for the first time since the 1934 recordings of Fitz Busch from Glyndebourne.” — ll Giornale, Italy

“Gilmour showed himself to be a young person already endowed with a sensitive professional capability, and was,in fact, extremely skilful in obtaining the best results from the Spoleto Festival Orchestra.”— La Nazione, Italy

Rigoletto, Holland Park Opera, 1999

“The conductor, Oliver Gilmour, gave good support to his singers and brought out much of the colour and drama of Verdi’s score in the orchestral playing.” — Opera Magazine

Cosi Fan Tutte, Dubrovnik Summer Opera, 2013

“Gilmour conducted with a sure sense of dramatic pace and Mozartian style; the Dubrovnik Orchestra responded with playing of suppleness and delicacy.” — Opera Magazine

Lucia di Lammermoor, Winslow Opera, 2014

“This performance is a triumph, almost without qualification.” — The Spectator

“I was surprised and delighted by the quality of the performance” — The Daily Telegraph

“Lucia at Winslow Hall had everything one could hope for|:a wonderful setting, a terrific orchestra conducted with impeccable sensitivity and great flair by Oliver Gilmour and a dynamic cast topped by the glorious Elena Xanthoudakis as Lucia”. — Robert Fox, Theatre Producer

La Traviata, Winslow Opera, 2015

“The orchestral sound is vibrant and immediate, with lively detail from the woodwind and expressive strings.” — The Times

“Gilmour led a performance that sustained a vivid dramatic pace and even brought a fresh lift to the Act I Brindisi…” — Opera Magazine

“There was an energy to Oliver Gilmour’s orchestra from the outset. After a superlative start….one was constantly struck by the quality and preparedness of his ensemble…” — Daily Classical Music

Don Giovanni, Winslow Opera, 2016

“As Giovanni finally descended to Hell, the spine was suitably tingled… Oliver Gilmour’s conducting of the ensembles articulated the drama superbly. His choice of tempi throughout was judicious. The Champagne Aria, for instance, fizzled without foaming out of control and ‘Mi tradi’ maintained momentum while leaving the longer breathed Elin Pritchard room to shape Donna Elvira’s sinuous, languishing lines expressively.” — Opera Magazine

Un ballo in maschera, Winslow Opera, 2017

As with Don Giovanni last year, Carmen Jacobi’s production was full of perceptive detail. Its tight dramatic frame was at one with the conducting of Oliver Gilmour, notable for tempos that always seemed natural and geared to enabling singers to give their best. Stephen Aviss, as in his Cavaradossi last year, proved that he is a tenor of considerable sense of style…A member of the Sofia National Opera, Tsvetana Bandalovska was a sensitive, creamy toned Amelia. His stage presence was sympathetic and graceful and her finest moment came in an exquisitely moulded ‘Morro ma prima in grazie’.”

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Victoria Concert Hall, Singapore.

“Conductor Oliver Gilmour set the tone for the evening in his reading of the Symphony no 33 in B flat, K 319. His measured tempi and scrupulous attention to every detail brought out its finely contrasted textures, so reminiscent of a string quartet, and leant the work a depth one is not accustomed to finding in it. The sensuous Andante was genuinely poignant, and even the dance-like Finale, surely one of Mozart’s most delightful, was revealed as a herald of things to come…..The catchy rhythms of the Symphony no 40 in G Minor K550 are nor easily allied with its depth of feeling. The quality of the orchestra’s ensemble playing allowed one of hear details that are often obscured and made this a most satisfying reading. ” — The Straits Times

Sofia, Bulgaria, 1998

“Gilmour’s concert with the Ensemble Orchestral (the elite of the 3 biggest Sofia orchestras), was truly exquisite…he is a talented musician with knowledge of style and a taste for beautiful sound. The orchestra reacted keenly and accurately to his hands, especially in Mozart’s last Symphony. I think that the greatest achievement was the attained fluency of the sound –now soft, velvety, now saturated, tense, luscious, but never forced, always rich in nuances and expression. This strongly impressive interpretation did not merely emphasise the dramatic side of the Jupiter Symphony, but penetrated ‘beneath the notes’, where Mozart’s reveries and thrills of excitements are encoded. Elegance, emotional intensity and contrasts alternated with flowing, supple lines and an excellent building up of the musical climaxes. This was also true of the complicated structures of the Brahms 2nd Symphony –music illuminated by the deeply cherished inner ties with nature and with Vienna. Here, once again, one could see the class of the conductor, - a highly accomplished musician with a delicate perception of the world.” — Kutlura, Bulgaria, 1998

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