“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

“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