"The beginning was like the theme tune to some lost 1970s Radio 2 series, but this familiar object was placed in an engagingly odd landscape of modernist fragments and other musical memories." - The Telegraph on SLEEPTALKER

A festival commission, Robin Haigh’s dream-like No One, for solo harp (2020) is laced with exotic, vibrato-like effects; in this reflective premiere, Oliver Wass taps into an archaic, timeless vein. - Musical Opinion


In the frenetic, ten-minute Grin, [Haigh] paints a smeared canvas teeming with cheeky flourishes, including weird,
almost Mahlerian jigs and manically balletic swooshes, only for it to repeatedly deflate into eerie dissonance - The Times


A quietly effective re-imagining of music from another era, Morfydd was more than a respectful tribute. It caught the spirit of the earlier score while also giving the audience a flavour of Haigh’s own distinctive musical personality. - Musical Opinion


[In Feyre Foreste] inhabits an extraordinary sound-world full of surprises, was completely refreshing, with remarkable ensemble writing creating a magical narrative. The piece stood out from an impressively strong and diverse group. - British Composer Awards


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The Man Who Woke Up is possibly the funniest opera this side of Gilbert & Sullivan [... ]This irreverent gem [is] lean, economical, and utterly lacking in pomposity [...] not to be missed  - Arts-Louisville

A highly successful thirty-minutes of provocative entertainment [...] this is one irreverent, dark comedy  - Chicago Theatre Review

 Vibrant, witty orchestration keeps the farce on its toes - Chicago Classical Review