La Boheme (Christine Collins Young Artists Performance), Opera Holland Park, June 2016:



Conductor Paul Wingfield took quite a relaxed view of the work. The fast scenes were still quite lively, but he allowed the music time to breathe and gave it space. The result was a performance which revelled in the lushness of Puccini's score, but allowed moments of fine-grained detail in the orchestration, all finely played by the City of London Sinfonia.

Robert Hugill, Planet Hugill


The two of them sang beautifully together in Act III under the sympathetic and incisive conducting of Paul Wingfield[.]

Mark Ronan,


Paul Wingfield did an admirable job of balancing the need for a lush romantic sound from the orchestra, whilst ensuring the voices were not covered.

Robert Hugill, Planet Hugill



Baucis and Philemon (Gluck) and The Judgment of Paris (Arne), Bampton Classical Opera, July 2016:



Critics' Choice, The Times ****


A lively supporting cast and fine playing from the orchestra under Paul Wingfield’s direction were the icing on the cake.

Roger Jones, Seen and Heard International


Presiding in the pit, or covered tent at a right angle to the stage, Paul Wingfield kept both scores moving with relaxed confidence [...] well worth seeing.

Richard Ely, BachTrack ****


[Paul Wingfield] brought a due sense of vigour and purpose to the two scores.

Curtis Rogers, Classical Source ****



Madama Butterfly, Grimeborn Festival/Arcola Theatre, August 2015:



Critics' Choice, The Times ****


...peformed at the piano by Paul Wingfield [...] it was beautifully played to the extent that I didn't actually miss the orchestra, which was no mean feat.

Mark Pullinger, BachTrack ****


[Wingfield's] captivating performance demands the audience's attention not only throughout the [Act III] Interlude but the entire performance.

Rivka Jacobson,****



La Grotta di Trofonio, Bampton Classical Opera, July 2015:



Critics' Choice, The Times ****


Paul Wingfield conducted the chamber orchestra Chroma with panache, and a young cast was fresh and vigorous throughout.

Rupert Christiansen, The Telegraph ****


The playing of CHROMA under Paul Wingfield was nothing short of magnificent [...] I cannot recall a single tempo choice that did not convince [...] The orchestral contribution was not the least, indeed was arguably the greatest, musical offering of all...

Mark Berry, Boulezian


Wingfield had an excellent command of both the overall dramatic pace and the expressive shaping of particular number, allowing for moments of stillness within the prevailing muddle and mayhem.

Claire Seymour, Opera Today


The orchestra, under the baton of Paul Wingfield, produced a beautiful and precise sound.

Sam Smith, MusicOMH


Paul Wingfield's direction of the Chroma Ensemble was fleet and well-pointed, keeping the trumpets down and giving free rein to some fine continuo playing from Marek Ruszczynski.

Peter Quantrill, The Arts Desk ****


Conductor, Paul Wingfield underlined the Mozart comparison with some superbly chosen pacings {...} La Grotta di Trofonio was one of [Bampton's] special successes.

Roderic Dunnett, Music and Vision


Wingfield showed good judgment in supporting the singers and allowed for moments of reflection within the prevailing comic confusion.

Claire Seymour, Opera


The orchestra played with its customary sparkle under the firm, committed direction of Paul Wingfield.

Nicola Lisle, The Oxford Times


The Orchestra of Bampton Classical Opera, energetically conducted by Paul Wingfield, creates a luxurious sound, full of bright tension.

Charlotte Valori, Bach Track**** 


Doing the impossible and holding it all together stylishly despite outdoors issues of acoustics and sightlines, conductor Paul Wingfield gives loving attention to Salieri's orchestral details.

Alexandra Coghlan, The Spectator


Paul Wingfield [conducted] his orchestra in a tent and with his back to the stage but there were no missed entries and the whole musical effect could not be faulted. Mr. Wingfield learnt his trade in the Jette Parker Young Artists' scheme and on the strength of his endeavours at Bampton, Covent Garden should soon be calling on him to do them a few favours in their main house.

Roger Jones, Seen and Heard International


La Favorite (Act I), Orchestra of Welsh National Opera, ROH, July 2014:



The outcome of risks taken in the name of desire were clearly signposted by the encompassing darkness and by the lyric passion summoned from the Welsh National Opera Orchestra by conductor Paul Wingfield. The orchestral lines were vigorous and clearly defined.

Claire Seymour, Opera Today


I must make special mention of the Orchestra of Welsh National Opera, who I thought played superbly throughout [...]

[Paul Wingfield] elicited total commitment from [them] and a necessary Italianate flair [...]

Miranda Jackson, Opera Britannia


The real drama came through [...] the orchestra, Paul Wingfield drawing weighty playing, especially from a satisfyingly secure brass section.

Mark Pullinger, Bach Track ****


The Welsh National Opera Orchestra performed exceptionally well, led by Jette Parker Young Artist Paul Wingfield. His interpretation was very dramatic, as the piece should be performed, but was also poignant.

Magarida Mota-Bull, Seen and Heard International


Mi entrevista con David Gowland tuvo lugar días antes de la función especial de verano de los artistas del programa Jette Parker, que este año incluyó los primeros actos de La favorite y Cosi fan tutte con la Orquesta Nacional de Gales bajo la eficiente y expresiva dirección de Paul Wingfield.

Agustín Blanco Bazán,



Die Zauberflöte (excerpts), Orchestra of the Royal Opera House, ROH, June 2013



Paul Wingfield conducted the Overture, and very well too, attentive to details and dynamics, the music given time to express itself and in healthy-sounding timbres. Colin Davis came to mind.

Colin Anderson, Classical Source


Paul Wingfield, a Jette Parker Programme participant since last year, conducted a sonorous account of Mozart’s overture to Die Zauberflöte, which conveyed a sense of drama through its well chosen tempi and forward balance of both brass and timpani.

Evan Dickerson, MusicOMH


Paul Wingfield conducted a precise and nuanced Overture.

Jim Pritchard, Seen and Heard International



El Gato Con Botas (Montsalvatge), Southbank Sinfonia, ROH,

October 2013



Paul Wingfield conducted the Southbank Sinfonia, which seemed to revel in Montsalvatge’s piquant orchestration.

Rupert Christiansen, Telegraph ****


The Southbank Sinfonia under Paul Wingfield plays with restrained gusto.

Nick Kimberly, Evening Standard


Albert Guinovart's transparent chamber-reduction of the score was sympathetically played and conducted by Southbank Sinfonia and Paul Wingfield.

Christopher Webber, Opera


Excellent performances from the entire cast, while Paul Wingfield draws fluent playing from members of the Southbank Sinfonia.

George Hall, The Stage


Paul Wingfield conducted with huge zest and enthusiasm and the Southbank Sinfonia played very capably.  It made for an excellent performance where no allowances were needed.

Opera Notes


With sprightly conducting from Paul Wingfield, this evening not only revealed plenty of exciting young talent, but an unjustly neglected opera as well.

Keith McDonnell, WhatsOnStage ****


The orchestra seemed to really enjoy the lyricism of this fairy tale told with adult musical language [...] and Paul Wingfield’s pacing seemed eminently natural throughout.

Colin Clarke, Seen and Heard International



Don Giovanni (continuo, cond. Nicola Luisotti), ROH, January 2014



Paul Wingfield au clavecin, et George Ives au violoncelle font merveille sans jamais rompre la fluidité de l'enchaînement des scènes. Mozart convient en outre très bien à l'Orchestre du Royal Opera House.

Phillippe Banel, Tutti Magazine


Paul Wingfield generat[es] daring and witty dissonances in [the] keyboard continuo.

Barry Millington, Evening Standard




Cosi Fan Tutte, Bury Court Opera, March 2017:



The conductor Paul Wingfield, an alumnus of the Royal Opera House's Jette Parker programme, sustained a close, animated and articulate dialogue between the stage and the orchestra, Camerata Alma Viva.

Yehuda Shapiro, Opera Magazine


The Camerata Alma Viva under the baton of Paul Wingfield sound superb.

Owen Davies, Plays To See


Camerata Alma Viva proved itself a fluent, sensitive ensemble, alluringly paced by conductor Paul Wingfield.

Roderic Dunnett, Opera Now



Mireille (extract), Royal Opera House, July 2016:



The fine singing was complemented by the crisp playing of the ROH orchestra conducted by [...] Paul Wingfield.