PRESS

“The music and Troup's staging combined in a chilling performance.”

Heggie on Heggie, Boston University Fringe Festival
Boston Musical Intelligencer

“In a complete about-face, the same performers gave an intensely dramatic rendering of “Incantation Bowl” (Gene Scheer), enhanced by Nathan Troup’s twitchy, obsessive staging.”

Heggie on Heggie, Boston University Fringe Festival

Boston Musical Intelligencer

'Sumeida's Song, powerful opera in Boston premiere'

"With all four cast members on stage, this climactic ending is nothing less than a dramatic tour-de-force."

Laine Curtis, Boston Musical Intelligencer

"Troup creates gorgeous stage pictures for this opera, surprising given the small ensemble of characters. For instance, at the beginning of the opera, underneath tan and dark brown sheets lie the main characters of the opera stories, and the sheets are slowly pulled back to reveal them frozen like statues. The actors pose in dynamic and sharp positions, which indicate their characters perfectly without saying a word and create vivid stage pictures. Such excellent use of positive and negative space are subtle touches which are rarely utilized in stage direction for opera, putting Troup a notch above the rest in terms of practiced directing talent and keen eye for the stage."

The Rape of Lucretia, The Boston Conservatory

Brian Balduzzi, MyEntertainmentWorld.ca

“The stage direction under Nathan Troup was impressive; soloists, dancers, and chorus moved fluently and purposefully on stage, the action always aligned with the story.”

Carmen, Boston Opera Collaborative

Boston Musical Intelligencer

“Best of Boston 2009”

EIGHT SONGS FOR A MAD KING

Collage New Music

Boston Pheonix

“Nathan Troup delivered with endearing earnestness.”

in performance at the Isabella Stewart Gardner Museum

The Boston Globe

'Collaborative brings Sumeida's Song to life'

"[...]there are many wondrous moments throughout, such as the moment after Asakir disowns Alwan when she lies on ground and holds up the knife that killed her husband; the music awash in quarter tones, swirls eerily around her."

David Weininger, The Boston Globe

“The stage direction under Nathan Troup was impressive; soloists, dancers, and chorus moved fluently and purposefully on stage, the action always aligned with the story.”

Carmen, Boston Opera Collaborative

Boston Musical Intelligencer

“The Boston Conservatory, recognizing that Ravel’s operas are seldom heard in small theaters and are complicated to produce, has courageously mounted a double bill of these works, with conspicuous success in all dimensions. A double cast of singers, and a chorus and orchestra, have been assembled [...]From a vocal standpoint, both performances were absolutely excellent. It would be hard to imagine more naturally expressive singing even from seasoned professionals, and all of these singers were students, undergraduate and graduate. The stage direction complemented the vocal gestures to best advantage as well.”
L'enfant et les sortilèges / L'heure espagnole,
The Boston Conservatory
Boston Musical Intelligencer

PRESS

﻿“The music and Troup's staging combined in a chilling performance.”

'Sumeida's Song, powerful opera in Boston premiere'

﻿“The stage direction under Nathan Troup was impressive; soloists, dancers, and chorus moved fluently and purposefully on stage, the action always aligned with the story.”

'Collaborative brings Sumeida's Song to life'

﻿“The stage direction under Nathan Troup was impressive; soloists, dancers, and chorus moved fluently and purposefully on stage, the action always aligned with the story.”

“The music and Troup's staging combined in a chilling performance.”

“The stage direction under Nathan Troup was impressive; soloists, dancers, and chorus moved fluently and purposefully on stage, the action always aligned with the story.”

“The stage direction under Nathan Troup was impressive; soloists, dancers, and chorus moved fluently and purposefully on stage, the action always aligned with the story.”