★ Ensemble OrQuesta ★ Hastings Philharmonic Orchestra ★ Hastings Philharmonic Choir ★ Grange Choral Society ★ HPO Singers

★ Ensemble OrQuesta Opera Academy ★ Billingshurst Choral Society ★ HPO Songbirds ★ Solo 

No 4 - 'The top ten best classical music performances of 2021', Fiona Maddocks (The Observer), 25/12/2021

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Ensemble OrQuesta, Company and Orchestra
OFFIE FINALISTS 2022
OPERA PERFORMANCE
Monteverdi, L'Incoronazione di Poppea,
Arcola Theatre, Grimeborn Opera Festival.

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2023

'Eloquent - Musical and dramatic integrity spiced with invention.'
There’s none of the rococo splendour of Louis XIV’s Versailles at the Cockpit, just a bare black stage with tapering ribbons, imaginatively lit to reflect the score’s frequently changing moods. Yet multitasking stage and music director Marcio da Silva creates an idiomatic decorum – movement and music are stylised but never mannered – and generates tension by throwing a few modernities into the mix.' 

Ensemble OrQuesta, UK premiere, Jacquet de la Guerre, Céphale et Procris, Claire Seymour (The Stage) ★★★★ .08.02.23

'a thoroughly engrossing and absorbing evening.'

The cast are accompanied by an excellent seven-piece orchestra of individual and collective panache, and da Silva himself not only conducts and directs, but plays several instruments from the podium and takes a supporting role in the drama. It is  it is one of the great merits of this production that the emotional and visual palette is made as diverse as possible. There are genuine moments of comedy and satire too, elegant choreography to ensure that there is always some visual stimulus and variety to the action, and careful consideration of costume..'

Ensemble OrQuesta, UK premiere, Jacquet de la Guerre, Céphale et Procris, Tim Hochstrasser (Plays to See) ★★★★ .13.02.23

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2022

'When a stage director, music director, lighting designer, recorder player, guitarist, organist and percussionist are all one person, you begin to regret your own misspent youth. These talents are combined in the figure of Marcio da Silva, the Brazilian founder of Ensemble OrQuesta.'

Ensemble OrQuesta, Monteverdi, L'Incoronazione di Poppea, Fiona Maddocks (The Observer) ★★★★ The week in classical. 30.07.22

'Marcio De Silva’s production of Monteverdi’s L’incoronazione di Poppea is a dark and sensual delight. Ensemble OrQuesta masterfully breathe new life into this popular, controversial baroque opera, while remaining faithful to its original score and spirit.'

Ensemble OrQuesta, Monteverdi, L'Incoronazione di Poppea, Rachel Wood, ★★★★ A Young(ish) Perspective. 28.07.22

'Ensemble OrQuesta’s approach, which offers an accessible and enjoyable way to enjoy the less familiar conventions of early opera, seems to me increasingly valuable. I hope that every seat is filled for the short run of this wonderful production.'

Ensemble OrQuesta, Monteverdi, L'Incoronazione di Poppea, ★★★★★ Owen Davies, Plays to See, 28.07.22

'..while most theatres are currently packed with escapist fare, this dark and delicious production, redolent with lust and ambition, is a wonderful alternative.'

Ensemble OrQuesta, Monteverdi, L'Incoronazione di Poppea, ★★★★ Franco Milazzo. Jul. 27, 2022 Broadway World.

'The Ensemble OrQuesta production (part of the Grimeborn Opera Festival at London’s Arcola Theatre) makes for an absorbing evening of a modern-dress interpretation that highlights the psychological underpinnings of this 1642 opera. Much credit must be given to the skilful stage direction of Marcio da Silva. The versatile Da Silva is also responsible not only for the evocative design and lighting, but also the musical direction of the small ensemble.'

Ensemble OrQuesta, Monteverdi, L'Incoronazione di Poppea, ★★★★ Inge Kjemtrup, The Stage, 28/07/22

'Key to the power of this production is da Silva’s imaginative vision and his dynamism as director and conductor.'

Ensemble OrQuesta, Monteverdi, L'Incoronazione di Poppea, ★★★★ Jane Darcy, The Reviews Hub, 27/07/22

'Maestro da Silva is a sparkling presence. Commanding and ever so subtle, he conducts with striking immediacy and balletic energy. He has a wonderfully close connection with his Orchestra and Choir. He brings in the huge Choir often on his toes. And he’s a pleasure to watch.'
Hastings Philharmonic Choir, Brahms, Eines Deutsches Requiem, Patrick Glass, Hastings Online Times (21/04/22)

'The choir balanced the timbre and sonority inherent in each section to create a near perfect harmony in all choruses. Especially notable was the strength of rhythm throughout the choral singing, even when some of the tempi were challengingly fast moving. The choral highlight, anticipated by so many in the audience, was the majestic Hallelujah chorus, which was an absolute triumph.. Special mention has to be made of the conductor and music director, Marcio da Silva, whose evident passion for this masterpiece could be sensed by all. The standing ovation at the end of this truly glorious and memorable concert was the audience’s own seal of approval.'

Billingshurst Choral Society, Handel Messiah, George Parnell, Sussex World, April 2022. 

'Moments of magic - An inventive, resourceful and stylish realisation of a French baroque masterpiece.'

'Marcio da Silva’s groundbreaking company Ensemble OrQuesta is fast developing an enviable reputation for bringing rare baroque treasures to the opera stage. Marcio da Silva conducted (and played a number of instruments) and, as ever, brought the best out of his instrumentalists, and his singers.'

Ensemble OrQuesta, Rameau, Les Indes Galantes, Cockpit Theatre, ★★★★ (17/02.22), Owen Davies, Plays to See. 

'An extremely effective pared down production of  a complex opera. .. The singing from the young cast was impressive.'

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2021

'The 60 strong mixed voice choir performed its first concert after just nine weeks of rehearsals under the guiding hands and voice of Marcio da Silva, the Society’s new Music Director. The rapturous applause from the 130 strong audience was a clear vote.' 

'A special treat was the opportunity to hear the magnificent voice of Marcio da Silva, the choir’s new Music Director, singing the two baritone solos. These pieces showcased the confident rounded tones of this professional who moved effortlessly from his solo performances to conducting the choir.'
Billingshurst Choral Society, Faure Requiem, Anthony Gilsenan, Sussex Express. (20/11/2021)

'There were some spine-tingling moments, noticeably the beginnings of the Lacrymosa and Sanctus. The overall performance from the combined forces here proved to be a satisfying conclusion to an enjoyable evening under the familiar baton of Marcio da Silva.'
Hastings Philharmonic Choir, Lauridsen: Lux Aeterna, Mozart: Requiem. Stephen Page, Lark Reviews, (06/11/2021)

'It is wonderful to be able to hear this youthful and professional orchestra without having to travel to a distant destination. It is good to see the local musical heritage being valued and celebrated as the tradition of music making develops further.'

‘Office politics given a striking twist in this perceptive rethinking of Alcina.'

Ensemble OrQuesta, Handel, Alcina, Arcola Theatre, August 2021, ★★★★ The Stage (27/08/2021) Yehuda Shapiro

'We should applaud and appreciate both the outstanding creativity and the musical authenticity of Marcio da Silva’s invaluable company'.

Ensemble OrQuesta, Handel, Alcina, Arcola Theatre, ★★★★ Owen Davies, Plays to See, (01/09/2021).

'The ensemble of performers and musicians deliver a compelling performance which captures our attention all throughout.'
Ensemble OrQuesta, Handel, Alcina, Arcola Theatre, ★★★★ (25/08/2021), Gaurav Singh Nijjer, North West End. 

'A cut down but thrilling version. ...The work is packed with dazzling arias, many sung by Alcina ..here superbly sung by Helen May, with Laura Fleur outstanding as the knight, Ruggiero. In a top quality cast, Poppy Shotts calls for special mention in the small role of Oberto,'

Ensemble OrQuesta, Handel, Alcina, Arcola Theatre, ★★★★ (028/08/2021), Fiona Maddocks, The Guardian. 

'Marcio da Silva and his band of expert baroque instrumentalists provide a realisation of Handel’s score which quickly convinces ears used to modern orchestral sounds that this nearly 300-year-old music is bang up to date. And da Silva’s programme notes are once again better than anything that the Royal Opera offers.' 

'Throughout the performance the orchestra and soloist were in fine form under the enthusiastic baton of Marcio da Silva.' 

Hastings Philharmonic Orchestra, Stephen Page, Lark Reviews, (24/04/2021)

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2020

HPO Singers, Christchurch, St Leonards, Susan Elkin, Lark Reviews, (06/12/2020)

'Marcio da Silva loves pushing the boundaries and last weekend brought us not only very rare early opera but a genuine attempt to stage them by candlelight within the vastness of Christ Church.. The instrumental forces were as telling as ever, with the constant changes of texture and tone particularly impressive. Marcio da Silva was everywhere, singing, playing guitar, recorder and side drum.'

Ensemble OrQuesta Opera Academy, Hastings, Susan Elkin, Lark Reviews, (08/02/2020)

'full marks to a young and enterprising opera company bringing top-class music to a 'classless' audience.'
Ensemble OrQuesta, Cavalli, La Calisto, Cockpit Theatre, January 2020, Andrew-Benson-Wilson, Early Music Reviews, (05/02/2020)

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2019

'Stylish and vividly theatrical condensed version of Rameau’s baroque masterpiece’

'This was an impressive version of a complex work which played to a capacity audience. A simple staging was inevitable, and effective use was made of the tiny performing area.’

Ensemble OrQuesta, Rameau, Hippolyte et Aricie, Arcola Theatre, August 2019, Early Music Reviews (13/08/2019) Andrew Benson-Wilson

'In an ideal world Ensemble OrQuesta would have been able to perform this opera on a larger scale with a longer rehearsal period. But economics said otherwise, and what they achieved was impressive.’

Ensemble OrQuesta, Rameau, Hippolyte et Aricie, Arcola Theatre, Planet Hugill (17/08/2019) Robert Hugill.

‘The balance was absolutely right and the choir maintained that equilibrium throughout the performance. I was very much impressed by the choirs’ attention to dynamics. … What was most impressive to me was that the men, few in number – 9 tenors and 8 basses – were heard as strongly, as softly, as effectively and harmoniously as the outnumbering women.’
Hastings Philharmonic Choir, Rossini, Petite Messe Solonnelle, Dr Brian Hicks, Lark Reviews, (08/08/2019)
 

‘This is not a work for the chorally faint hearted.... High spots included the vibrant sound in the opening and closing choruses, the very rich confident alto work in the exposed section of Primo vere and slow section of Swaz hie gat umbe and the well-handled shift into 3/4 time for Floret silva.’

Hastings Philharmonic Choir, Carmina Burana, Dr Brian Hicks, Lark Reviews, (07/04/2019)

'This is a gripping evening from beginning to end and a vindication of the accessibility of Monteverdi’s operas. I hope more and more people have the chance to sample Ensemble OrQuesta and their baroque gems.’ 

2018

‘Marcio da Silva drew on the strengths of solo voices in the choir not only in the spiritual but also for the opening of In the bleak midwinter and the voices of the kings in We three kings.’

Hastings Philharmonic Orchestra & Hastings Philharmonic Choir, Christchurch, St Leonards on Sea, (10/11/2018)

'The approach was exhilarating throughout, with tight rhythms and fast pacing, emphasising the narrative line which compels us to move from darkness to light…. The balance between orchestra and singers was remarkable.'

‘Marcio da Silva handles his forces with great skill, shaping musical lines to beautiful effect and splendid impact within the warm and sympathetic acoustic’.

Hastings Philharmonic Orchestra at Rye Festival, St Mary, Rye, (20/09/2018)

'This production is a triumph - both for Marcio da Silva and his team and for the festival.'
Ensemble OrQuesta, Xerse, Cavalli, Arcola Theatre, Grimeborn Opera Festival, (28/08/2018) ★★★★ Plays to See, Owen Davies

'A smartly paced, absorbing evening: The production, stylised but penetrating, had lucidly traced the opera’s web of relationships and manipulations... In something of an operatic caucus race, each of the eleven soloists deserved a prize.'

Ensemble OrQuesta, Xerse, Cavalli, Arcola Theatre, Grimeborn Opera Festival, (27/08/2018) Opera Magazine, Yehuda Shapiro
 

'If they were letting their hair down just a little it was rarely at the expense of the music, which came across with bold authority throughout.’

‘The massed voices proved to be impeccably well disciplined. Rhythms throughout were tight and Verdi’s sudden endings given all the lightning control they need. Where sheer volume is required it got it – the Dies Irae only being topped by the force of Rex tremendae and the joyous outpouring of the Sanctus. Yet the opening bars had been as hushed and reflective as I can recall hearing them. A masterly shaping of the narrative as it unfolded …’
Hastings Philharmonic Choir, Dr Brian Hicks, Lark Reviews, (06/05/2018)

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2017

‘Under Marcio da Silva, Hastings Philharmonic Choir has gained new authority and professionalism.’

‘Throughout, Marcio da Silva brought what we have come to expect of him – precision and passion. We are lucky to have him with us.’

Hastings Philharmonic Orchestra & Hastings Philharmonic Choir, St Mary in the Castle, (04/11/2017)

‘The clarity of text was impressive and the Kyrie beautifully crafted. The sudden outpouring of the Hosanna was thrilling in its impact and the Sanctus had a warm lightness of touch.’
Hastings Philharmonic Choir, Duruflé Requiem, Dr Brian Hicks, Lark Reviews, (16/06/2017)

'The choir's conductor Marcio da Silva is to be congratulated for the controlled and sensitive way that his leadership brought this work together. It seems certain that, for many, this event will have been a not-to-be-forgotten experience.' 

‘..an impassioned reading of Mozart’s Requiem. The chorus were in excellent voice here and the rhythms were crisp and clean throughout. There was a real sense of bite in the Rex tremendae, an empathic sensitivity in the Lacrimosa and joy in the Sanctus. Phrasing was finely crafted and balance throughout excellent. Marcio da Silva, as we have become accustomed, directed the whole with authority and precision.’

Hastings Philharmonic Orchestra & Hastings Philharmonic Choir, St Mary in the Caste, Hastings, Dr Brian Hicks, Lark Reviews (01/04/2017)

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2016

'Under Marcio da Silva, Hastings Philharmonic Choir has gained new authority and professionalism. To this he now adds a newly formed orchestra which gave its inaugural concert last night at the White Rock. Where many would have gone for a popular programme to encourage a wider audience he chose works which challenged both the performers and listeners – but the risk certainly paid off.'

'The choir sang Stanford’s less-well-known Gloria with confidence and a beautiful range of light and shade. But it was in Elgar’s extended anthem Great is the Lord that the choir was at its very best. The final choral work, a setting of the Gloria by John Rutter.. was a real challenge to the choir. The end of the middle section 'miserere nobis' was beautifully styled and sustained; the ending was spine-tinglingly intense and impressive. The audience’s applause said it all!'

'

Brahms’ Requiem is a genuine challenge for the best of choruses. That HPC did so well is a tribute not only to their conductor but also the hours of effort it must have taken to realise this level of musicality. They had opened the evening with a rarity – Brahms’ setting of Goethe’s Gesang der Parzen. The top sopranos excelled themselves in the accuracy of their pitch and impact of their attack. This was true later of the men who are now a force to be reckoned with. The many exposed passages in the Requiem were supported with virile sound and clean lines.'

Hastings Philharmonic Choir, Christchurch, St Leonards, (14/05/2016), Dr Brian Hicks, Lark Reviews. (14/05/2016)

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2015

'Hastings Philharmonic Choir was once again on top form. They have shown a high level of control and depth of feeling in this music. To create a programme which does not rely on exuberance and flashiness is a risk today. How refreshing to be able to sit back and be transported to a higher realm as this sustained, luxurious and highly emotive music works its magic.'