Margherita & Elena / Mefistofele - Chelsea Opera Group, March 2019

 

"When I first heard Llewellyn sing, in ENO’s 2010 La Bohème, I admired her ‘warm, generous voice [which] easily reached the rafters of the Coliseum’, and the warmth and generosity of her lyric spinto have only blossomed more richly during the intervening years. She commanded the attention of all in the Queen Elizabeth Hall during the Act 3 prison scene, her soprano falling with a slight duskiness and rising with a rapturous sheen, the projection easy and the phrasing beguiling. If the drama of ‘L’altra notte’ was well-crafted, in the great love duet, ‘Lontano, lontano’, she spun an exquisite, gentle pianissimo; and, when she prayed to God for salvation and rejecting Faust, her dying phrases conveyed every drop of emotional intensity. The spontaneous applause that greeted ‘L’altra notte’ seemed to take Llewellyn a little by surprise, just as she had astonished those in the Hall with such powerful expressivity - an expressively which was equally captivating when she assumed the persona of Helen of Troy in the following Act." (Opera Today)

"The character of Marguerite can seem sweet but empty; Elizabeth Llewellyn had the vocal and dramatic range to make her a truly operatic figure, impulsive yet profound. This was a concert performance to make you long for an opera house staging."  (Evening Standard)

 

"Soprano Elizabeth Llewellyn sang the double role of Margherita and Elena, bringing an ideal combination of power and lyrical flexibility to the roles. Her Margherita was beautifully sung with a convincing and touching naivety, yet expansive in the more lyrical moments and with a surprising strength when she denies Faust just before her death. By contrast, Llewellyn's Elena was wonderfully radiant and rightly seductive." (Planet Hugill)

"Elizabeth Llewellyn was at her radiant best in her two incarnations as Margherita and Elena, differentiating the two beautifully. As Margherita in love she unleashed waves of powerful velvety sound but then found exactly the right sense of pathos and stillness as she is imprisoned and seeks salvation. As Elena she was full of dangerous allure. The wide-eyed faces of the Capital Arts Children’s Choir (a distinct asset to the evening) marvelling at it was a delight!" (Classical Source)

"Elizabeth Llewellyn, playing both Margherita and Elena, was marginally more suited to the latter, though her singing had great beauty and poise." (The Guardian)

"Elizabeth Llewellyn brought her sweet yet rich and beautifully shaped soprano to the fore in the roles of Margherita and Elena." (Music OMH)

"The role of Margherita was taken by Elizabeth Llewellyn, who has previously impressed as Magda in Puccini’s La rondine for Opera Holland Park and in Vaughan Williams’ A Sea Symphony at the Barbican. She is a spectacular singer: she has great stage presence, a powerful voice which never seems to harden and, most of all, she absolutely inhabits the roles she takes on, always with the utmost musicality and integrity. The Act III aria in which she reflects on her fate (‘L’altra notte in fondo al mare’) was vocally beautiful as well as dramatically affecting; she also boasts a splendid vocal trill. In her alternative persona as Helen of Troy in the fourth act, Llewellyn was glorious in her duet with Pantalis her companion; her vision of the destruction of Troy, later in the act, was gripping in the extreme, and she soared easily and freely over the ensemble towards the end of the act."  (Seen and Heard International)

Cio-Cio San / Madama Butterfly - Royal Danish Opera, September 2017

 

"Llewellyn's soprano has wonderful fullness and her all-embracing and sweet Butterfly catches Act 1 in the second and third acts so you feel the heartbreaking longing and the unbearable situation she is in. Elizabeth Llewellyn's fine interaction with the charismatic mezzo soprano Johanne Bock [as] Suzuki, must be emphasized." (OplevByen.dk)

"...the English soprano Elizabeth Llewellyn sings brilliantly as Cio-Cio San, Madame Butterfly" (Sklassisk.dk)

"Elizabeth Llewellyn’s portrayal of Cio-Cio San, better known as Madame Butterfly, was exquisite as she conveyed the personal anecdote of this geisha wife through her angelic vocals. Her beautifully layered singing reverberated through the entire room and made a world outside of her perfectly pitched notes seem obsolete." (CPH Post)

Magda de Civry / La Rondine

Opera Holland Park, June 2017

 

"Elizabeth Llewellyn is a British soprano... whose rich, lyric instrument produced refined tone at every point in her wide range and whose sense of Puccinian style was consistently impressive; she brought to the role of Magda glamour, sophistication and a voice it would be hard to match anywhere in terms of beauty and color." (Opera News)

"The aria, Doretta’s Song, is truly memorable, and especially well sung here by the British soprano Elizabeth Llewellyn, a fine Verdian possessed of a voice that effortlessly fills OHP’s big tent with gloriously unforced sounds." (Mail on Sunday)

"Llewellyn and Lippi soared again in the final duet, and…Llewellyn showed how to make it count with sheer beauty of line and a glorious sheen to the voice. This certainly showed how having a real spinto soprano in the role can count." (Opera Today)

"...Magda’s Chi il bel sogno di Doretta, which Llewellyn sings lusciously with her warm, smoky tone and gleaming high notes...Both leads rise magnificently to their passionate duet in Act III, when it becomes clear that they cannot live together, Llewellyn unleashing her Tosca voice (which she has already shown off in Germany) with plenty of “spinto” blade... A huge OHP hit: Llewellyn is a star." (The Sunday Times)

"To ice the cake in shades of yellow and scarlet, Elizabeth Llewellyn sang Magda with a voice of pure operatic joy. Her soprano timbre, rich, powerful and faintly smoky, was irresistibly seductive and multi-layered, and somehow she found heartbreak in the score's simplicities.
Llewellyn is an exceptional artist who oozes star quality and ought to be top of the 'grab' list for any half-decent UK casting director, but for some reason isn't. Don't miss this too-rare opportunity to hear her: she's a great singer at the peak of her craft." (What's On Stage)

"...a voice that threaded its lovely way seamlessly across all of Puccini's bar-lines, never striking a less than entirely lovely sound: she is a truly special artist." (Opera magazine)

"The night belongs, though to Elizabeth Llewellyn as Magda and Matteo Lippi as Ruggero. Llewellyn has a voice like best dark chocolate in the lower register and crystal clear water in the upper. She achieves an impressive variation of tone and packs in huge amounts of immaculately acted emotion. Her reading aloud of the letter from Ruggero’s mother in the third act is a good example of impassioned excitement mixed with horror. It is a very fine performance indeed." (Lark Reviews)

"When are the big international opera houses going to wake up to the great British talent that is Elizabeth Llewellyn? With her opulent soprano – shaded middle register, full bloom at the top, cutting chest voice – she was born to sing Verdi and Puccini, and her stage presence is undeniable from the moment she steps out… our hearts are with her from the start." (The Artsdesk)

"It’s a role that requires wit, grace, elegance and the ability to float seraphically above the stave – all qualities that Llewellyn has in abundance. She plays exquisitely with the phrasing of Magda’s one showpiece aria, “Che il bel sogno di Doretta”, and rises confidently to its moments of climax, but mostly one appreciates the sheer charm and lightness of touch with which she paints the chattier aspects of her music." (The Telegraph)

"Magda is one of Puccini’s top vulnerable heroines, and the role is magnificently sung by Elizabeth Llewellyn, blessed with a voice of sumptuous range, security and fullness; you first hear her generous lower range, which as it expands higher keeps its character and flexibility. Llewellyn also has a powerful presence; she is compelling as the worldly woman taking one last chance at love, and easily strides between archetype and straightforward characterisation. In every respect she rises to the occasion." (Classical Source)

“…yet again Llewellyn…proved what a fabulous Puccini soprano she is.  The voice is a good size with a smoky lower register, a velvety middle of complex depth and a top that opens up magnificently… Her Magda was vulnerable, hopeful and determined just as she should be.” (Opera Traveller)

"Elizabeth Llewellyn successfully combines sophistication and sincerity....her voice is ideally warm and lyrical, and easily fills the theatre. Opera Holland Park is lucky to have her." (Financial Times)

"The soloists were led by, and effectively overshadowed by, Elizabeth Llewellyn ...She was thrilling, living the role throughout and with full vocal and dynamic range. In act three, Llewellyn and the orchestra conspired to provide moments of magic in her soliloquy as she reminisces; her pitching, too, was noteworthy in its accuracy. Magda’s love scene with Ruggero was one of the evening’s many highlights; she effectively lifted it to another level." (Seen & Heard International)

"Elizabeth Llewellyn is a perfect Magda, warm and lively yet wistful in her Act I soliloquy."  (Mark Ronan)

“Singing Magda, Elizabeth Llewellyn has obvious stage presence and the vocal stature to go with it; the bottom of the voice is full and has an appealing spice to it that makes it quite distinctive, while her middle is luxuriously warm….Commitment to the role was absolute, from the grace of her salon presence, through breathless excitement in Bullier’s, to her sacrifice in the third act.”
(Bachtrack)

“Elizabeth Llewellyn gives a stand-out performance as Magda, showing the delicate touches of her range against the power of her top flight displayed through the bigger numbers, making this production worth a visit for her performance alone.”  
(The Arbiturian)

"It is, however, Elizabeth Llewellyn as Magda and Matteo Lippi as Ruggero who make the evening special. Llewellyn has the precision and focus to make her vocal line feel sweet and clean, but her soprano is also blessed with richness and strength that gives both her sound and the character a good deal of weight." (Music OMH)

“As Magda, Llewellyn commands the right blend of wry self-knowledge and creamy expansive tone to cover her character’s transition from bored semi-retired performer to radiant lover and regretful realist. She also finds real warmth and tenderness in the final scenes, which carried across into the arena.”  (Live Theatre UK)

 

TOSCA - Theater Magdeburg, October 2016

"Tosca operates entirely as a prima donna, both in her set-up jealousy as well as in her iron loyalty. Only alone with her lover is she human.

Elizabeth Llewellyn plays these changes as closely as she interprets them vocally. For coquettish and playful she finds warm heart-tones. The sound of each note is beautiful, but the vocal-acting makes her Tosca outstanding." (Volkstimme)

"In the case of "Tosca" [Theater Magdeburg] has engaged a downright dream-cast, which every major house might envy: in the first place to mention is the English soprano Elizabeth Llewellyn who sings and plays a glowing, passionate Diva."

(MDR Radio, Dieter David Scholz)

 

Suor Angelica & Giorgetta / Il Trittico - 

Royal Danish Opera, 2015 & 2016

"Indeed, the Suor Angelica in particular moved me immensely, especially due to Elizabeth Llewellyn’s sensational debut in the title role... Elizabeth Llewellyn’s role debuts were absolutely thrilling. She was a fine Giorgetta but it was really as Angelica that she gave a truly overwhelming performance. The voice has a beguiling combination of duskiness and velvety warmth. It’s a good size and she rode the orchestra with ease. Her Angelica was shattering, her acting completely raw and so immediate, her vocalism so full and generous that one could not help but be moved. This is a significant role debut for this excellent British soprano, one I hope she will return to very soon." (OperaTraveller)

"Elizabeth Llewellyn [is] strong, open and pivotal as hybrid Giorgetta/Angelica" (Andrew Mellor, @operalastnight)

“The young wife Giorgetta, the evening's greatest joy and surprise, is sung by Elizabeth Llewellyn”

“[Angelica's] aria, which is not known, is redeemed in the best way by the guest Elizabeth Llewellyn who is flown in from London… But in Suor Angelica she unfolds with the finest nuances and volume so that this neglected opera becomes interesting. Beautiful.”  (Kulturkupeen.dk)

"The two essential singing stars are sovereign. Bass-baritone Johan Reuter and soprano Elizabeth Llewellyn both have double-roles. Elizabeth Llewellyn creates both a challenging and promiscuous Giorgetta, scintillating among a host of stevedores, and a contrite Angelica, ostracized by both fellow prisoners and guards." (Weekendavisen)

Elsa / Lohengrin - Theater Magdeburg, September 2014

 

"In her debut as Elsa, Elizabeth Llewellyn reaped a huge personal triumph. With well-nigh-perfect diction, she modulated her ever-so-slighty smoky timbre from the dreamy forlorness of the first scenes to an unusually strong confrontational tone. Her voice carried to the furthest nook, even in the pianissimo passages, and - almost alone in the cast - she seemed to have power in reserve during even her most outgoing effusions." (Opera magazine)

"A beguiling luminous voice that alternates between perfect dreamy sounds and effortless power, and on top of that offers exemplary diction. This must be a name to remember." (Neue Musik Zeitung)

"For Elizabeth Llewellyn as Elsa one was drawn in as soon as she opened her mouth. Innocent, dreamy, she exuded loveliness in chaste euphony to the scene in the bridal chamber. There she comes to life... " (Volkstimme.de)

"Elizabeth Llewellyn in her role debut as Elsa, alone succeeded out of the whole line-up! The Briton who only lately changed in singing repertory, has a balsamic blossoming soprano with bright timbre,  with nuanced responsiveness even in her lower register. Already in this her first German-language role she convinced with a characteristic voice leading that - coupled with strong stage-presence - gave the viewers a compelling potrait of the role. " (Opernglas)

"Vocally, the evening was coined by the the two main protagonists. With special attributes should we indeed deal sparingly, but what Elizabeth Llewellyn offered as dreamy Elsa was simply sensational! As well being theatrically completely convincing this singer, with  a balanced soprano with its full timbre and all-round gleam, outshone the ensemble, also having no intonation difficulties at the top of her voice. She had at her Wagner debut already excellent standards. " (Opernfreund)

"More intense and free in her acting was Elizabeth Llewellyn as Elsa. That she is a stranger and that she is more at home in her dream-world than in this theater of concrete and militancy, she conveyed musically and made dramatically credible." (Klassik.com)

Amelia / Simon Boccannegra - ETO  /  Sir Mark Elder & Hallé , 2013

 

“Only one element of the performance truly comes alive. Elizabeth Llewellyn’s Amelia shines brightly: as well as negotiating one of Verdi’s trickiest arias with elegant aplomb and crowning the wonderful Council Chamber ensemble with glory, she also makes the girl’s hopes and fears vivid, suggesting that innocent womanhood can point the way out of the mess that men have made of the world.”  (Rupert Christiansen, Daily Telegraph)

 

“Elizabeth Llewellyn continues to fulfil her promise… [with] her powerful and lyrical soprano.”   (Daily Telegraph)

 

“Elizabeth Llewellyn uncorks passages of glorious timbre as Amelia…”  (The Times)

 

“[ETO] fielded a far superior Amelia, the rising lyric soprano Elizabeth Llewellyn.”     (Hugh Canning, Sunday Times)  

 

“Rising star Elizabeth Llewellyn confirms her excellence as an Amelia of gleaming lyricism, musically distinguished and dramatically sympathetic.”  (The Stage)

 

“The exception of Elizabeth Llewellyn’s gleaming Amelia…”   (Guardian)

 

“There is, however, one very good reason to catch this Boccanegra and that is an Amelia of distinction from Elizabeth Llewellyn, marking her Verdi debut. She has a lovely, rich lyric soprano and a formidable technique. The little dynamic swells within Amelia’s opening aria ‘Come in quest’ora bruna’…were beautifully controlled and she phrases in long legato lines.”  (Opera Britannia)

 

“…a sensational Amelia, who dispatched her passages with sentiment and confidence throughout.”  (Bach Track)

 

“Elizabeth Llewellyn…gives a performance of great lyrical beauty and is clearly a talent which has huge potential.”   (What’s on Stage) 

 

“Elizabeth Llewellyn, as the lost daughter Amelia/Maria, has a sensuous voice.”  (The Express)

 

“The highlight of this production is the singing of Elizabeth Llewellyn (Amelia) in the only major female role. Her voice, with wisps of smoke and undercurrents of honey in it, is a sound to bathe in. If touring opera companies can bring voices of such quality to be heard live in these roles by local audiences, their existence and value can't be questioned.”  (Herald Scotland)

 

“The star of the evening was Elizabeth Llewellyn as his daughter Amelia… nicely varying her tone on her emotional roller-coaster.”   (York Press)

 

24th November 2013 - Jump-in for concert performance with Sir Mark Elder / Hallé Orchestra

 

"Two outstanding artists dominated here. Alongside the smooth-toned Boccanegra... we heard Elizabeth Llewellyn's gleaming Amelia. Though she was standing in for an indisposed soprano, there was no compromise in her musical warmth and exciting vocalism." (The Telegraph)

 

"Soprano Maria Luigia Borsi was replaced shortly before the performance by the excellent Elizabeth Llewellyn as Amelia Grimaldi."
(The Guardian - *****)

"The Italian soprano Maria Luigia Borsi withdrew with laryngitis to be more than adequately replaced by Elizabeth Llewellyn as Amelia. I have heard her sing the role before with English Touring Opera and was impressed. A soaring soprano, she was even more impressive this time - a rising star." (The Arts Desk)

"Her stage demeanour, added to her clear silvery tone, vocal strength, superb legato and vocal expression in Amelia's Come in quest'ora bruna that emerged from Sir Mark's reading of the quiet, ethereal, orchestral introduction, with its echoes of the sea lapping the Genoese the shores, was magical. The diversity of her vocal quality was further illustrated by her duet with Gabriele Adorno and more significantly still in her contribution in the Council Chamber scene... She was quite formidable." (Seen and Heard International)

Mimi / La Bohème - English National Opera, 2010 & Theater Magdeburg 2015

 

"With her impressive vocal range and her spectacular stage presence she received applause time and again." (Volkstimme, 2015)

"Much more appealing was Elizabeth Llewellyn, who enjoyed huge success with the audience... her full lyric soprano, with its distinctive timbre and warm middle register, sailed through everything else with winning grace and excellent diction.” (Rupert Christiansen, The Telegraph)

 

“Making her debut in the role of Mimi, Elizabeth Llewellyn adds to her growing reputation for tackling major roles. Her solos, particularly in the final scene, enable her to show off the pure soprano voice to perfection.” (Daily Express)

 

“But it is Llewellyn, gorgeously toned and rapturous, who is the evening's real star.” (The Guardian)

 

“Mimì was sung by the young soprano Elizabeth Llewellyn, making her ENO debut. It's hard to imagine a better debut: Llewellyn's voice has a lovely warm timbre, she sang with clarity and precision, and she is a credible actress.” (Bachtrack)

 

“As Mimi, she of the frozen extremities, the creamy-voiced Elizabeth Llewellyn continues in her career-defining role. This enchanting lyric soprano brings a vulnerability and passion to the drama... for this revival, overseen by Jonathan Miller himself, dramatic balance is restored and Llewellyn’s Mimi is able to break our hearts.” (Classical Source)

 

“Elizabeth Llewellyn’s warm buttery soprano lent itself admirably to the role of Mimi and she handled the balance between pathos and conviction in her performance perfectly. Her exchange of arias with Hughes Jones in Act I was particularly moving, as was her final scene...” (Music OMH)

 

"Llewellyn (...) has a distinctive and very attractive soprano - warm, passionate, large but not forced, with a mezzo hue that will surely suit her Countess for Holland Park next summer" (Opera magazine)

 

 “Rising star Elizabeth Llewellyn makes a bigger splash with her house debut as Mimi. (…) the sumptuousness of her lower register promises great things.” (The Stage)

 

 “Mimi herself was the star of the show, gloriously sung by Elizabeth Llewellyn, making her ENO debut. This is a young woman to watch out for”

(Mark Ronan’s Theatre Reviews)

 

Donna Elvira / Don Giovanni - Bergen National Opera, March 2015

"Both the donne were in formidable command of their coloratura...Elizabeth Llewellyn characterizing Elvira with a formidable blend of double cream and gleaming metal".  (Opera magazine)

"The ladies...are brilliant in their own way. Elizabeth Llewellyn had authority in her interpretation of Donna Elvira." (Bergen Tidende)

Fiordiligi / Così fan tutte -  Opera Holland Park, June 2012

 

“[Dorabella’s] antics ... are a foil to the moving vulnerability of Elizabeth Llewellyn’s outstanding Fiordiligi, whose Per pietà is racked by inner sadness.” (The Times)

 

“Cosí has some terrific young singers — Elizabeth Llewellyn’s sumptuously sung Fiordiligi...”   Hugh Canning, Sunday Times, June 2012  

“The vocal blend is ideal: pure, supple and perfectly balanced... Llewellyn makes priggish Fiordiligi human, warm, even funny, in the coloratura pomp of ‘Come scoglio’.” (The Independent) 

 

"Even so, the evening was not without its pleasures, provided above all by Elizabeth Llewellyn’s deluxe singing of Fiordiligi’s two big solos and radiant top line in the ensembles. This British soprano...gets better with every appearance..." (Hugh Canning, Opera Magazine) 

 

“The lovers are all rising stars - or stars already ... Elizabeth Llewellyn (Fiordiligi), a veteran of OHP’s Marriage of Figaro who also sang the Countess at English National Opera, has a sumptuous lower register and a sympathetic stage presence.” (The Stage)

 

“An outstandingly pure and beautiful voice...” (Daily Express)

 

Vocally stunning, her performance of 'Come scoglio' is excellently measured, combining harshness towards the strangers, an element of rationality as she calmly explains that she loves another, and high comedy as she nearly faints and deprives the intruders of their tea and cake. Even after she submits to Ferrando, she looks profoundly uncomfortable at what she is about to do.” (Music OMH) 

 

“Elizabeth Llewellyn ... is in her element as Fiordiligi, and her partnership with Julia Riley’s Dorabella results in a vocal blend of the utmost sweetness and beauty.” (Classical Source)

 

"Elizabeth Llewellyn's supremely dignified Fiordiligi is the night's highlight. Like her voice - already a glowing, autumnal soprano but dropping tantalising hints of more expansive roles to come - Llewellyn is going places... singing an assured "Come scoglio". In the harsher emotions of the second act, her entire performance blossoms." (The Arts Desk)

 

"The singing was of an impressively high calibre. The Fiordiligi of Elizabeth Llewellyn was the standout, her beautiful tone and attentiveness to vocal line making both ‘Come scoglio' and ‘Per pietà' absolute joys." (Opera Britannia)

 

"Best of all is Elizabeth Llewellyn's turn as Fiordiligi - her rich-toned, seemingly effortless delivery of Per pietà, ben mio, perdona - resulting in rapturous applause and calls of "bravo!" from the audience." (The Upcoming)

La Contessa / Le Nozze di Figaro - Opera Holland Park & English National Opera, 2011

 

"Elizabeth Llewellyn's peachy soprano is the perfect sound for the Countess...she moved and acted with dignity, dominating the moral and emotional high ground." (Opera Magazine) 

 

“Indeed, the vocal expressivity of Elizabeth Llewellyn, as the disillusioned, disheartened Countess, was one of the highlights of the evening. Both ‘Porgi amor’ and ‘Dove sono’ powerfully conveyed her distress and established her aristocratic dignity.”  (Opera Today)

 

“Elizabeth Llewellyn’s glorious vocal sound... This was a beautiful performance from a soprano with a very special voice (described by Edward Seckerson as ‘ripening nicely.’). Both ‘Porgi, amor’ and ‘Dove sono’ were effectively showstoppers, delivered with dignity and poise.” (Opera Britannia)

 

“One standout vocal performance made the evening worthwhile. The Countess's inner despair was laced through Elizabeth Llewellyn's every note, peaking in a profoundly affecting Dove sono. It was all the remarkable for the aristocratic poise of her delivery, the raw feelings behind the Countess's unslippable social mask.”  (Intermezzo)

 

“Two performances stand out from start to finish. The first comes from Elizabeth Llewellyn as the Countess whose performance of ‘Porgi, amor’ is an undoubted highlight of the evening. There is a wonderful sense of style in her delivery, which sees her stand as a goddess, eternally elegant of bearing. At the same time, she conveys immense human emotion, her fragility being so obvious that one senses she could physically disintegrate at any moment.”  (MusicOMH)

 

“There are ravishing accounts of ... Dove Sono by Elizabeth Llewellyn” (The Stage) 

 

“Elizabeth Llewellyn’s Countess combined with great success beauty of tone and poignancy of affect” (Seen and Heard International)

 

October 2011 - Jump-in on opening night at English National Opera, London:

 

“Elizabeth Llewellyn, standing in at very short notice for a sick Kate Valentine, is a finely poised Countess, singing both arias with remarkable beauty and poise. I was reminded of a night in 1973 when I first heard an unknown young soprano called Kiri Te Kanawa sing this role and a star was born.” (Rupert Christansen, Daily Telegraph)

 

“Best of all was the Countess, Elizabeth Llewellyn, whose rich-toned, agile soprano offered a level of vocal quality too often missing elsewhere; her performance was the more remarkable given that she was a late replacement, announced only on the day of performance. Following her strongly sung Mimì at the same address last season, Llewellyn here confirmed her potential as a rising star of the U.K. soprano firmament.” (George Hall, Opera News)

 

“Elizabeth Llewellyn, gave a superb account of the role. ‘Porgi amor’ was especially poignant.”  (Opera magazine)  

 

“But the vocal honours were stolen by Elizabeth Llewellyn. A late substitute for Kate Valentine as a word-perfect and superbly poised Countess, she fitted into the production as if she had been rehearsing for weeks. This is a golden talent.” (Hugh Canning, Sunday Times)

 

“The star of the first night, though, was the velvety toned soprano Elizabeth Llewellyn, stepping in movingly as the Countess” (John Allison, Daily Telegraph) 

 

“Fortunately, Elizabeth Llewellyn was able to step in with a bravura performance. Indeed, her commanding vocal and dramatic presence in both the big arias provided blissful relief from the manic hyperactivity on stage that irritated more than it illuminated.”

(Evening Standard)

 

 “She was replaced by Elizabeth Llewellyn, her understudy, who had only sung the part once before. Happily, she did it with panache and wowed the critics, who called her performance "show- stealing". Shaw was visibly delighted, bobbing in her seat with glee. This may be the beginning of a bright new future for Ms Llewellyn. "Expect to see a lot more of her in future," gushes my man in the wings.” (Matthew Bell, Independent, October 2011)

 

“…the most polished vocal contributions come from the last-minute stand-in: Elizabeth Llewellyn, who sang the Countess with gorgeous timbre and looked poised on what must have been a nerve- racking evening.”  (Richard Morrison, The Times)

 

“On the morning Elizabeth Llewellyn gamely stepped in and caused something of a sensation with her warm yet plaintive tone, beautiful embellishments of line and a searing depiction of this unhappy character’s emotional plight. There was wit, too. Her two arias were both high-points.” (Classical Source)  

 

“Elizabeth Llewellyn’s smoky-toned Countess sings with a touch of class” (Andrew Clark, Financial Times)  

 

“... leaving Elizabeth Llewellyn bravely to assimilate herself into an extraordinarily complex evening. That she did so with poise and composure and affecting vocal bloom was a quite remarkable achievement. At the close of Shaw’s staging she is every thoroughly modern woman packed and ready to walk away from betrayal but ultimately big enough to stay.” (Edward Seckerson, Independent)

 

Astonishingly, the best vocal performance came from a singer who had only stepped into her role earlier the same day. Elizabeth Llewellyn has a beautiful, tender soprano voice and true stage presence... Remarkably, she played the part in a production that had never been seen before, singing words that had changed from any other time she had sung the role, as though she had been rehearsing it for months. At the end, she received the biggest ovation from the audience of all the performers and thoroughly deserved it.”  (Daily Express)

 

“Yet stepping into this challenging assignment, Elizabeth Llewellyn undoubtedly took the evening’s vocal laurels - her rich, creamy soprano was superbly managed and deserves to take her far.”  (The Stage)

 

 “She was outstanding. Her physical and vocal poise elevated the Countess’s predicament to genuine tragedy. Rarely are the tears behind the stiff upper lip so beautifully and poignantly evoked.”  (Intermezzo, Bach Track)

 

Bess / Porgy and Bess -  Royal Danish Opera, 2014

“Elizabeth Llewellyn’s Bess was equally captivating. Her golden-toned voice had many colours and convincingly expressed everything from hope to despair, love to loneliness. Her acting was also many-faceted, showing Bess’ vulnerability and most of all why Bess loves Porgy” (Seen and Heard International)

“Only Elizabeth Llewellyn stood out, not just as the only singer who did not force her voice to cope with the acoustics of the opera and the grand orchestral playing, but as a singer with so rare a combination of grace and strength, reminiscent of a young Leontyne Price.” (Information.dk)

​©2014 by Elizabeth Llewellyn all rights reserved.​