Detlev Hoffmann

PRESS

Jens Fischer, Die deutsche Bühne

“…das Staatsorchester…bietet unter der Leitung von Cameron Burns höchst elegant die Ouvertüre von Glucks Orfeo ed Euridice.”

[…the State Orchestra, directed by Cameron Burns, offered a highly elegant performance of Gluck’s Overture to Orfeo ed Euridice.”]

Unterwelt, Staatsoper Hannover 2019

Braunschweiger Zeitung

“...der musikalische Grundeindruck ist Dunkel, alle Figuren leiden an ihren unerfüllten Sehnsüchten. Cameron Burns am Pult zelebriert das in heftiger Klangentfaltung....wo sich auch schöne Meloslinien herausarbeiten ließen.”

[“...the basic musical impression is dark, all characters are suffering from their unfulfilled desires. Cameron Burns on the podium celebrates this in strong sound development ....in which beautiful melos lines are also brought out”.]

Was ihr Wollt, Staatsoper Hannover 2018

Juliane Moghimi, Hannoversche Allgemeine Zeitung

“Das Niedersächsische Staatsorchester spielt das anspruchsvolle Werk unter der Leitung von Cameron Burns tadellos, und auch das Sängerensemble ist bestens aufgelegt und musiziert auf hohem Niveau und mit beeindruckender Textverständlichkeit”. 

[“The Niedersächsische Staatsoper Orchestra played the demanding score flawlessly under the direction of Cameron Burns and the singer ensemble was on top form, making music on a high level with an impressive clarity of text”]

Des Kaisers neue Kleider, Staatsoper Hannover 2018

Lilean Buhl, Neue Presse

“…der augenzwinkernde Gesang harmoniert schön mit dem unprätentiösen Spiel von Cameron Burns’ Orchester” ***** (fünf Sterne)

[“…the ‘eye-winking’ singing harmonises well with the unpretentious playing from Cameron Burns’ orchestra”] ***** (five stars)

Des Kaisers neue Kleider, Staatsoper Hannover 2018

Tom Sutcliffe, Opera Now

“At the extreme top end of the scale was Poulenc’s Dialogue des Carmélites directed by veteran Dietrich Hilsdorf. This was probably the very best work I have seen at this house in over 15 years…Cameron Burns’s conducting of this superbly expressive score was unerringly sensitive and perceptive”.

Les Dialogue des Carmélites, Staatsoper Hannover 2018

Rainer Wagner, Hannoversche Allgemeine Zeitung

"Cameron Burns erinnert daran, wie hörenswert Benjamin Brittens „Ein Sommernachtstraum“ ist".

Festkonzert der Stiftung, Staatsoper Hannover, 2018

Andrew Porter, Opera Magazine

“Cameron Burns conducted with assurance...[and] very ably. And, as ever, the COG orchestra and chorus tackled a great score with enthusiastic, communicative, stirring commitment. There were, in particular, several spellbinding woodwind solos”. 

Chelsea Opera Group, Weber Euryanthe, 2013

 

Mark Berry, Opera Today

“Conductor Cameron Burns and his excellent cast should receive equal credit for what I have no hesitation in describing as the best COG performance I have heard – by some distance. Burns’s reading ought to have been welcomed with open arms in any opera house; indeed, it would have signalled a marked improvement in most of what we hear.  A refreshingly elegant, unexaggerated style – no frenetic waving around of arms to no evident end – did not in any sense preclude engagement with libretto, whatever its shortcomings, and score alike.... Line was maintained throughout. Not a single passage sounded unduly hurried or remotely meandering.

Weber’s musico-dramatic experiments were communicated with apparent ease, boundaries blurred but not obliterated between more old-fashioned set pieces and the ‘forward-looking’ – at least to any self-respecting Wagnerian – treatment of recitative and arioso. Above all, dramatic tension remained tight and proportions simply sounded ‘right’, a far more difficult task to accomplish than many might appreciate.”

Chelsea Opera Group, Weber Euryanthe, 2013

 

Richard Nicholson, Classical Source

“The conducting was fine in every respect. Cameron Burns managed his forces with obvious belief in the music but without unnecessary flamboyance. Sections and solo instruments were given their head. The prominent association which can often be detected between the character of Lysiart and the cellos and basses was given full emphasis. The significance of solo instruments such as the bassoon in Euryanthe’s Act Three ‘Cavatina’, with its suggestion of desolate pathos, was colourfully brought out... Burns never failed to appreciate, alongside the highlights, the continuity of the work. It is to be hoped that Euryanthe’s fortunes, already on the way up, will be given a further boost by this outing”.

Chelsea Opera Group, Weber Euryanthe, 2013

Hilary Finch, The Times

"Burns is a young conductor to watch: his is an urbane, unhistrionic manner of direction, with an impeccable technique at the service of a lucid grasp of the score, and an ability to energise and inspire his players, whatever their age and experience. He directed his professionals in pacy and supple extracts from Britten’s Variations on a Theme of Frank Bridge, and led his entire band with clarity and authority through a new work.”

LSO Discovery, Take a Bow, 2012  

 

Interview in '&London' Magazine, Spring Issue 2014