"In keeping with the action, this is a vocally high-class evening... Natalie Christie's Adina is ideally light and agile but without the hints of neurosis that define her relationship with Nemorino from the start... "
"The upsides are Simon Keenleyside (quite disturbingly sexy as the murderous Don), Ildebrando D'Arcangelo (a lithe and immensely likeable Leporello), Natalie Christie (sweet of tone as Zerlina), John Mark Ainsley (a noble Don Ottavio). Above all, there's Sir Charles Mackerras... "
There's also a sonorous Commendatore from Andrea Silvestrelli, a perky Zerlina from Natalie Christie, and a highly promising Masetto from the young Darren Jeffrey. Altogether a fabulous evening musically."
"The whole ensemble, energised by Charles Mackerras's elegant conducting, performs brilliantly. Giovanni's double-act with Leporello, the splendid Ildebrando D'Arcangelo, is hugely funny and never far from violence... Masetto the ox and his little Zerlina - almost as amoral as the Don - are sweetly played by Darren Jeffrey and Natalie Christie... "
"Of course, it helps when your singers also act convincingly. As Marzelline, so lovestruck that she doesn't realise that "Fidelio" is all that he appears to be, Natalie Christie, foregoing the ditziness that often besets the role, reveals a bright, open timbre that nevertheless carries the necessary emotional weight..."
"... She can scamper about with incredible energy, almost as if she's an incipient Cherubino; just as importantly, however, she's capable of reining in her performance in a millisecond when the scenario requires restraint and seriousness."
Christie is irresistibly funny, a tiny little dynamo effortlessly organising all about her. Where many of our young singers seem to rely on their physical performance to give a clue to how their vocal one should be unfolding, Christie offers a seamless marriage of the two. Yes, of course that's the way it should be, but...
Buoyant and yielding in the musical interpretation flowing from Jane Glover's elegant baton, The Marriage of Figaro - sung in English and more enjoyable as a result for a theatre full of people in summery mood - also has the distinction of having one of the most congenial performers of the central role of Susanna to appear in this much-revived staging.
"Nuns do tend to all look the same, and the great strength of Phyllida Lloyd's direction is that not one is like any other, from Elizabeth Vaughan's aristocratic First Prioress - the only holdover from the Coliseum cast, her death scene as harrowing as before - down to Natalie Christie's cheerful peasant Sister Constance, an especially touching, crisply enunciated impersonation. A profoundly stirring evening."
"Stephen Medcalf had a fine cast to work with. The Australian Natalie Christie (Oksana) could march proudly into any of our national companies tomorrow - her soprano is as well-formed as her deliciously diminutive figure."
"The Cafe Momus also introduces Natalie Christie's irresistible Musetta. Her voice leaps out of her tiny, tense body like a champagne cork; and the glinting coloratura within is also able to expand into long lines of reflection, which in the last act, still all around her."