There were many appealing moments, or whole sequences, from Wingfield’s masterfully managed, incredibly refined players: dancing paired clarinets and flutes; the horns; a single trombone (hence important in support); his able, deft percussion section (with one rare marvel: a xylophone upholding the entire chorus). At several moments Wingfield drew gloriously engineered diminuendi from them all; one notably in which cello, then flute, emerged pristine.

The moving force behind this production, and head of the RBC’s Vocal and Operatic Studies, evoking some
marvellous playing from his beautifully rehearsed, highly proficient orchestra.

Roderic Dunnett, Classical Music Daily

A strong cast and a fine conductor lift a concert performance of Mozart’s last masterpiece into something special […]. Using a smaller than usual orchestra, Paul Wingfield drew stylish playing with an overture that brought out the music’s vitality and urgency. This was modern instrument Mozart, but it was slim-line and lithe, with none of the fat richness of big symphonic performance of his music […]. Throughout, you sensed that Wingfield was controlling and shaping, and it is very much to his credit that he managed to weld his diverse cast, non-professional chorus and orchestra into a compelling drama with plenty of style and lots to enjoy.

– Robert Hugill, Planet Hugill

Paul Wingfield’s insightful reading of the Banished score inspired his young cast and orchestra to give committed and secure performances with a firm command of the technical challenges.  In partnership with director Daisy Evans, Paul’s leadership of the project demonstrated the sort of keen appetite for new work that composers value so much as it allows their work to lie comfortably alongside established repertoire.  The project was a great success from all points of view.

— Stephen McNeff, composer

So glad I made it to the Royal Birmingham Conservatoire’s “Mansfield Park” – the second outing for the orchestral version, perfectly paced by conductor Paul Wingfield in a touching and lucid production by Michael Barry.

— Jonathan Dove, composer

Paul Wingfield and CHROMA Ensemble delivered a taut, finely-judged account of the opera’s chamber score in support of a splendid singing company.****

— Mark Valencia, BachTrack

In Act I, the build-up of tension, with conductor Paul Wingfield drawing almost tactile instrumental sonorities from the Chroma Ensemble, is faultless.****

— Yehuda Shapiro, The Stage

The CHROMA Ensemble, under the baton of Paul Wingfield, is on fine form, while the cast is led by Alison Rose.****

— Sam Smith, MusicOMH

Placed at the side of the stage, the Chroma Ensemble were perhaps not ideally situated yet conductor Paul Wingfield kept everything together finely and the important instrumental passages were as vividly projected as the rest of the staging.****

— Robert Hugill, Planet Hugill

Conductor Paul Wingfield has a masterly grasp of the score – deceptively simple at times with the nursery rhyme themes but rich and complex at other moments – and I have never heard the music come across so powerfully as in this production thanks to the Chroma Ensemble.*****

— Owen Davies, Plays To See

The tiny orchestra, conducted by Paul Wingfield, is phenomenal. Extraordinary that with only 10 musicians there should be such orchestral richness.****

— Kate Kellaway, The Guardian

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

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

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

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, markronan.com

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

Critics’ Choice ****

— The Times

…performed 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, playtosee.com

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 Today

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

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, mundoclasico.com

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

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

— Rupert Christiansen, The 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

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

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