Les Noces/Dido and Aeneas
by NEIL FISHER for the Times
published: May 10, 2007

The weaker half is the dance-dominated one. Choreographers can take Les Noces anywhere, provided the business on stage matches the intensity of the score. But Collins’s approach cramps both music and drama: the soloists, chorus, pianos and percussion are pushed to the back of the stage, and perhaps as a result nearly all (apart from the powerful soprano Gweneth-Ann Jeffers) sound too polite and restrained.