“With her rich lower register and opulent high notes, Llewellyn makes an excellent Ariadne, the transformation from grief to rapture beautifully negotiated.”
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— The Guardian

“Elizabeth Llewellyn sang her tragic “Es gibt ein Reich” gloriously, and the quality of her gorgeous low register is one of the phenomena of this show that sticks in the memory.”
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— The ArtsDesk

“Thank goodness, then, that Llewellyn is in such fine voice: she has everything for Strauss’s long lines, and her smoky soprano flares with power and vulnerability.”
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— The Times

“Leading the opera seria is Elizabeth Llewellyn, every inch the demanding Prima Donna in the Prologue, then, following the interval, seated on a rock and mourning her life in her grandest soprano manner as the abandoned Ariadne. The scale and quality of her singing are outstanding.”
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— The Stage

“In Part Two, soprano Elizabeth Llewellyn’s Ariadne was exhilarating. Slumped on a large rock, she put hot blood into the veins of a mythical character as she lamented her abandonment in impressive Wagnerian tones, using her full vocal range excellently, waiting for death to come…”

— Bachtrack

“Llewellyn…was a very human Ariadne, warm and communicative with a lovely opulence of voice rather than the ice maiden. During the commedia dell’arte scenes in the Opera, rather than withdrawing to her cave (there wasn’t one!) or imperiously ignoring the troupe, Llewellyn was wonderfully diva-ish in her furious attempts to shoo them away. In the Prologue, Llewellyn’s Diva was stylish and demanding to perfection, and looking stunning in both her outfits”

—Opera Today