This page uses cookies
By clicking “Accept All”, you agree to the storing of cookies on your device to enhance site navigation, analyze site usage, and assist in our marketing efforts. View our Privacy Policy for more information.
Solo soprano | Hyperion, 2018 Elizabeth Llewellyn performs the role of Eigen in this recording with Orchestra of Opera North and the Huddersfield Choral Society conducted by Martyn Brabbins.
Made with ❤️ and 🔥 by Unison Media
© Elizabeth Llewellyn
“She offers delectable singing in her Scene III solo and she enters ardently into her duets with Orbin… Throughout, her singing affords great pleasure: the tone is lovely, her diction is good, and she copes effortlessly with the compass of the role—right up to a top C towards the end of Scene VI.”
- John Quinn, MusicWeb International
“She offers delectable singing in her Scene III solo and she enters ardently into her duets with Orbin… Throughout, her singing affords great pleasure: the tone is lovely, her diction is good, and she copes effortlessly with the compass of the role—right up to a top C towards the end of Scene VI.”
- John Quinn, MusicWeb International
Solo soprano | Hyperion, 2018 Elizabeth Llewellyn performs the role of Eigen in this recording with Orchestra of Opera North and the Huddersfield Choral Society conducted by Martyn Brabbins.
“She offers delectable singing in her Scene III solo and she enters ardently into her duets with Orbin… Throughout, her singing affords great pleasure: the tone is lovely, her diction is good, and she copes effortlessly with the compass of the role—right up to a top C towards the end of Scene VI.”
- John Quinn, MusicWeb International
Solo soprano | Hyperion, 2018 Elizabeth Llewellyn performs the role of Eigen in this recording with Orchestra of Opera North and the Huddersfield Choral Society conducted by Martyn Brabbins.
“She offers delectable singing in her Scene III solo and she enters ardently into her duets with Orbin… Throughout, her singing affords great pleasure: the tone is lovely, her diction is good, and she copes effortlessly with the compass of the role—right up to a top C towards the end of Scene VI.”
- John Quinn, MusicWeb International
