Elizabeth Llewellyn – Cio-Cio San, Madama Butterfly – Royal Danish Opera, 2017 – Photo Mikael Flis

“…Llewellyn’s soprano has wonderful fullness and her all-embracing and sweet Butterfly.”

OplevByen.dk  Cio-Cio San, Madama Butterfly 

Title role, Manon Lescaut

Opera Holland Park  |   June 2019


“The announcement pre-curtain that soprano Elizabeth Llewellyn had only recently recovered from laryngitis was inauspicious, and Llewellyn understandably played it safe at first. But, when in the latter stages, reassured that her voice would hold out, she relaxed and released a wonderfully expressive and dramatic flood of glorious colour, the wait was proven more than worthwhile. In fact, the slight frailty at the start was not inapt, capturing as it did some of the innocence of the young Manon (especially as she is not presented here as a young girl being escorted to a convent), and the blossoming of Llewellyn’s soprano in the final two Acts communicated the maturity and growth borne of Manon’s experiences. Llewellyn exploited the full range of her soprano, including a rich chest voice, encompassing a vast emotional spectrum and sensitively capturing Manon’s femininity. As Manon finds herself at the limits of her resilience, so Llewellyn pushed her soprano to its limits, though never sacrificing her creamily smooth legato, with compelling power and effect. As her voice recovers fully, Llewellyn’s performance will be a persuasive reason to see this production.”
Opera Today

“Star-quality comes at last with the elegant and slightly sphinx-like presence of Llewellyn’s Manon, and a bit of moonshine in her first meeting with Des Grieux;…Llewellyn is perfectly poised and now in near-vintage voice.”
The Artsdesk

 

Elizabeth Llewellyn – Manon Lescaut – Opera Holland Park – Photo Robert Workman
Elizabeth Llewellyn – Mefistofele – Southbank Centre, 2019

Margherita & Elena, Mefistofele

Chelsea Opera Group  |   March 2019


“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

 

Cio-Cio San, Madama Butterfly

Royal Danish Opera  |   September 2017


“Llewellyn’s soprano has wonderful fullness and her all-embracing and sweet Butterfly catches Act 1 in the second and third acts so you feel the heartbreaking longing and the unbearable situation she is in. Elizabeth Llewellyn’s fine interaction with the charismatic mezzo soprano Johanne Bock [as] Suzuki, must be emphasized.”
OplevByen.dk

“…the English soprano Elizabeth Llewellyn sings brilliantly as Cio-Cio San, Madame Butterfly”
Sklassisk.dk

“Elizabeth Llewellyn’s portrayal of Cio-Cio San, better known as Madame Butterfly, was exquisite as she conveyed the personal anecdote of this geisha wife through her angelic vocals. Her beautifully layered singing reverberated through the entire roomand made a world outside of her perfectly pitched notes seem obsolete.”
CPH Post

Elizabeth Llewellyn – Cio-Cio San, Madama Butterfly – Royal Danish Opera, 2017 – Photo Mikael Flis
Elizabeth Llewellyn – Magda de Civry, La Rondine – Opera Holland Park, 2017

Magda de Civry, La Rondine

Opera Holland Park  |   June 2017


“Elizabeth Llewellyn is a British soprano… whose rich, lyric instrument produced refined tone at every point in her wide rangeand whose sense of Puccinian style was consistently impressive; she brought to the role of Magda glamour, sophistication and a voice it would be hard to match anywhere in terms of beauty and color.”
Opera News

“The aria, Doretta’s Song, is truly memorable, and especially well sung here by the British soprano Elizabeth Llewellyn, a fine Verdian possessed of a voice that effortlessly fills OHP’s big tent with gloriously unforced sounds.”
Mail on Sunday

“Llewellyn and Lippi soared again in the final duet, and…Llewellyn showed how to make it count with sheer beauty of line and a glorious sheen to the voice. This certainly showed how having a real spinto soprano in the role can count.”
Opera Today

 

Tosca

Theater Magdeburg  |   October 2016


“Tosca operates entirely as a prima donna, both in her set-up jealousy as well as in her iron loyalty. Only alone with her lover is she human.Elizabeth Llewellyn plays these changes as closely as she interprets them vocally. For coquettish and playful she finds warm heart-tones. The sound of each note is beautiful, but the vocal-acting makes her Tosca outstanding.”
Volkstimme

“In the case of “Tosca” [Theater Magdeburg] has engaged a downright dream-cast, which every major house might envy: in the first place to mention is the English soprano Elizabeth Llewellyn who sings and plays a glowing, passionate Diva.”
MDR Radio, Dieter David Scholz

Elizabeth Llewellyn – Tosca – Theater Magdeburg, 2016 – Photo Nilz Bohme
Elizabeth Llewellyn – Suor Angelica and Giorgetta – Royal Danish Opera, 2015/16

Suor Angelica & Giorgetta, Il Trittico

Royal Danish Opera  |   2015 & 2016


“Indeed, the Suor Angelica in particular moved me immensely, especially due to Elizabeth Llewellyn’s sensational debut in the title role… Elizabeth Llewellyn’s role debuts were absolutely thrilling. She was a fine Giorgetta but it was really as Angelica that she gave a truly overwhelming performance. The voice has a beguiling combination of duskiness and velvety warmth. It’s a good size and she rode the orchestra with ease. Her Angelica was shattering, her acting completely raw and so immediate, her vocalism so full and generous that one could not help but be moved. This is a significant role debut for this excellent British soprano, one I hope she will return to very soon.”
OperaTraveller

“Elizabeth Llewellyn [is] strong, open and pivotal as hybrid Giorgetta/Angelica”
Andrew Mellor, @operalastnight

 

Elsa, Lohengrin

Theater Magdeburg  |   September 2014


“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

“A beguiling luminous voice that alternates between perfect dreamy sounds and effortless power, and on top of that offers exemplary diction. This must be a name to remember.”
Neue Musik Zeitung

 

Elizabeth Llewellyn – Elsa, Lohengrin – Theater Magdeburg, 2014
Elizabeth Llewellyn – Amelia, Simon Boccanegra – English Touring Opera, 2013

Amelia, Simon Boccannegra

English Touring Opera  |   Sir Mark Elder & Hallé , 2013


“Only one element of the performance truly comes alive. Elizabeth Llewellyn’s Amelia shines brightly: as well as negotiating one of Verdi’s trickiest arias with elegant aplomb and crowning the wonderful Council Chamber ensemble with glory, she also makes the girl’s hopes and fears vivid, suggesting that innocent womanhood can point the way out of the mess that men have made of the world.”
Rupert Christiansen, Daily Telegraph

“Elizabeth Llewellyn continues to fulfil her promise… [with] her powerful and lyrical soprano.”
Daily Telegraph

“Elizabeth Llewellyn uncorks passages of glorious timbre as Amelia…”
The Times

“[ETO] fielded a far superior Amelia, the rising lyric soprano Elizabeth Llewellyn.”
Hugh Canning, Sunday Times

 

Mimi, La Bohème

English National Opera & Theater Magdeburg   |  2010 & 2015


“With her impressive vocal range and her spectacular stage presence she received applause time and again.”
Volkstimme, 2015

“Much more appealing was Elizabeth Llewellyn, who enjoyed huge success with the audience… her full lyric soprano, with its distinctive timbre and warm middle register, sailed through everything else with winning grace and excellent diction.”
Rupert Christiansen, The Telegraph

“Making her debut in the role of Mimi, Elizabeth Llewellyn adds to her growing reputation for tackling major roles. Her solos, particularly in the final scene, enable her to show off the pure soprano voice to perfection.”
Daily Express

“But it is Llewellyn, gorgeously toned and rapturous, who is the evening’s real star.”
The Guardian

 

Elizabeth Llewellyn – Mimi, La Boheme – Theater Magdeburg, 2015
Elizabeth Llewellyn – Donna Elvira, Don Giovanni – Bergen National Opera, 2015

Donna Elvira, Don Giovanni

Bergen National Opera  |   March 2015


“Both the donne were in formidable command of their coloratura…Elizabeth Llewellyn characterizing Elvira with a formidable blend of double cream and gleaming metal”.
Opera magazine

“The ladies…are brilliant in their own way. Elizabeth Llewellyn had authority in her interpretation of Donna Elvira.”
Bergen Tidende

Fiordiligi, Così fan tutte

Opera Holland Park  |  June 2012


“[Dorabella’s] antics … are a foil to the moving vulnerability of Elizabeth Llewellyn’s outstanding Fiordiligi, whose Per pietà is racked by inner sadness.”
The Times

“Cosí has some terrific young singers — Elizabeth Llewellyn’s sumptuously sung Fiordiligi…”
Hugh Canning, Sunday Times, June 2012  

“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

 

Elizabeth Llewellyn – Fiordiligi, Cosi fan Tutte – Opera Holland Park, 2012
Elizabeth Llewellyn – La Contessa, Le Nozze di Figaro – Opera Holland Park, 2011

La Contessa, Le Nozze di Figaro

Opera Holland Park & English National Opera  |   2011


“Elizabeth Llewellyn’s peachy soprano is the perfect sound for the Countess…she moved and acted with dignity, dominating the moral and emotional high ground.”
Opera Magazine

“Indeed, the vocal expressivity of Elizabeth Llewellyn, as the disillusioned, disheartened Countess, was one of the highlights of the evening. Both ‘Porgi amor’ and ‘Dove sono’ powerfully conveyed her distress and established her aristocratic dignity.”
Opera Today

 

Bess, Porgy and Bess

Royal Danish Opera  |  2014


“Elizabeth Llewellyn’s Bess was equally captivating. Her golden-toned voice had many colours and convincingly expressed everything from hope to despair, love to loneliness. Her acting was also many-faceted, showing Bess’ vulnerability and most of all why Bess loves Porgy”
Seen and Heard International

“Only Elizabeth Llewellyn stood out, not just as the only singer who did not force her voice to cope with the acoustics of the opera and the grand orchestral playing, but as a singer with so rare a combination of grace and strength, reminiscent of a young Leontyne Price.”
Information.dk

Elizabeth Llewellyn – Bess, Porgy and Bess – Royal Danish Opera, 2014