“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

“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