Alexandra Coghlan, The Spectator - 13/07/2019

It’s an elegant trick to pull off in Garsington’s glass-box theatre — sunshine and garden views streaming in on every side, all asserting their comfort, their certainty. But Muller and lighting designer Malcolm Rippeth play the long game, drawing out the opera’s semblance of normality for as long as possible. Is that a figure we see through Christopher Oram’s cloudy conservatory windows, or just a shadow? Even Peter Quint’s first coaxing call is so soft you couldn’t swear you hadn’t imagined it. But as daylight gives way to flickering candles, shadows lengthen along with doubts.