“Cosí has some terrific young singers — Elizabeth Llewellyn’s sumptuously sung Fiordiligi…”

— Hugh Canning, Sunday Times

“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