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reviews

2018

2018

Phyllis - Iolanthe - ENO

Ellie Laugharne’s Phyllis was a delight, her conniving charisma convincing as her voice. They did a clog tap dance dressed as Dresden shepherd & shepherdess whilst singing – a piece of ENO magic I’ll not forget in a while.
www.gscene.com/arts/music/opera-review-iolanthe-eno/

Ellie Laugharne and Marcus Farnsworth made a delightful pair of romantic leads, Phyllis and Strephon, costumed in 18th century Arcadian style complete with mock toile-de-jouy fabric! Both seemed to be having the time of their life, and it was this sense of enjoyment which radiated from the production. Both Laugharne and Farnsworth had the right degree of heft and lyrical charm to make the roles count, and their opening duet was a complete delight and they even managed to avoid being upstaged by the comic business with the sheep. And in their Act Two duet, we got a wonderful clog dance too, a brilliant touch.
www.planethugill.com/2018/02/topsy-turvy-fun-cal-mccrystal-directs-g.html

Ellie Laugharne stands out for the sweetness and shape that she brings to her sound as Phyllis.
www.musicomh.com/classical/reviews-classical/iolanthe-coliseum-london Music

Ellie Laugharne and Marcus Farnsworth, as Phyllis and Strephon, are a perfect Arcadian couple who might have stepped off a Wedgwood vase.
www.ft.com/content/35fa3994-117a-11e8-940e-08320fc2a277

The shepherd-and-shepherdess couple of Marcus Farnsworth and Ellie Laugharne gave us the strongest purely operatic voices of the evening.
bachtrack.com/review-iolanthe-  ...  d-february-2018

Ellie Laugharne was a pert and suitably girlish Phyllis; her soprano is bright and fresh, and she climbed cleanly to the stratosphere (and beyond, in a dog-whistle yell of passion), but Phyllis’ sweet demureness is rashly swept aside in an impressive tantrum in which she lambasts the ‘faithless’ Strephon and offers her heart to any peer who’ll have her - as long as she can be a countess.
www.operatoday.com/content/2018/02/iolanthe_englis.php

There was a brilliant number of clog dancing from Ellie Laugharne and Marcus Farnsworth, which should surely go down in history.
www.schmopera.com/technicolour-gs-enos-iolanthe/

Ellie Laugharne’s feisty Phyllis follows with a brilliant tap number. www.theartsdesk.com/opera/iola  ...  eautiful-gs-all

The loved-up pair sing ravishingly and act with delicious self-awareness, topping off their night with a riotous clog dance.
www.whatsonstage.com/london-th  ...  paign=14feb2018

Ellie Laugharne and Marcus Farnsworth as the young lovers complement each other beautifully. www.express.co.uk/entertainmen  ...  -National-Opera

Terrific performances all round, with Yvonne Howard and Andrew Shore excelling as the Queen of the Fairies and Lord Chancellor, and Marcus Farnsworth and Ellie Laugharne as the dainty Arcadian Strephon and Phyllis. The chorus has a ball.
www.telegraph.co.uk/opera/what  ...  glish-national/

Marcus Farnsworth and Ellie Laugharne are excellent as the dainty Arcadian Strephon and Phyllis.
www.broadwayworld.com/westend/  ...  liseum-20180218

The light voice of Ellie Laugharne is perfect for Phyllis, and one hopes to hear more from her.
seenandheard-international.com  ...  anthe-from-eno/

Ellie Laugharne sounds sparkling as Phyllis.
www.theguardian.com/music/2018  ...  oliseum-london-

Ellie Laugharne’s Phyllis charms
www.independent.co.uk/arts-ent  ...  e-a8209931.html

Laugharne shapes her lines with delightful alertness
www.spectator.co.uk/2018/02/a-  ...  anthe-reviewed/

Ellie Laugharne brings a bright and silvery vocalism to Phyllis.
www.classicalsource.com/db_control/db_concert_review.php?id=15203

Temperanzia - Applausus, Haydn - Classical Opera Company

Of all the soloists, Laugharne appeared most engaged in the unfolding sentiments of the work, and in her aria, ‘Rerum, quas perpendimus’, she made light of the virtuosic demands, engaging intelligently with the horns and cello to suggest a real musical conversation. Laugharne’s vocal commitment did not flag for one moment in this twenty-minute stamina-challenge; nor did her judgement - the chromaticism of the B section was thoughtfully exploited and the trills judiciously brief. No wonder, despite the silent respect shown elsewhere, the audience felt compelled to applaud.
www.operatoday.com/content/2018/03/haydns_applausu.php

Ellie Laugharne’s Temperance was lucid and graceful.
www.classicalsource.com/db_control/db_concert_review.php?id=15288

Soprano Ellie Laugharne’s aria ‘Rerum, quas perpendimus’ revealed a singer of cleanliness – particularly as regards her slurs – and accuracy.
seenandheard-international.com  ...  ves-delightful/


2017

2017

Zerlina - Don Giovanni - Opera Holland Park

Ellie Laugharne gave a convincing and rounded portrayal of Zerlina, her two arias were superb. I loved the rapport with the orchestra’s inner strings at the end of ‘Batti, batti o bel Masetto’ while in ‘Vedrai carino’ she offered some of the best singing of the evening.
seenandheard-international.com  ...  f-don-giovanni/

Ellie Laugharne so much more than a naive working-class girl in a deft and well-projected portrayal of Zerlina.
www.thetimes.co.uk/article/ope  ...  rk-w8-rh5s7d9x3

A year ago, I enjoyed Ellie Laugharne’s Zerlina for Classical Opera at Cadogan Hall, and she charmed with the same sweetness of tone and wicked sparkle here.
www.operatoday.com/content/2017/06/don_giovannitak.php

Ellie Laugharne was in radiant voice as the biddable Zerlina.
www.whatsonstage.com/london-th  ...  park_43783.html

Ellie Laugharne's Zerlina delivered a delightful, buttery-toned “Vedrai carino”. bachtrack.com/review-don-giova  ...  -park-june-2017

Ellie Laugharne’s beautifully sung Zerlina.
www.musicomh.com/classical/rev  ...  and-park-london


2016

2016

Adina - Elixir of Love - Scottish Opera

None did this more engagingly than Ellie Laugharne’s Adina, her glamorous trouser outfits suggesting a 1930s fashion goddess, with slim blonde looks, expressive persona and fragrant vocalita to match. This classy soprano made music of Donizetti’s decorative flourishes. She also gave meaning to the words and inhabited the stage like a natural: a joy to behold.
Andrew Clark, Opera Magazine

But there are some fine turns, particularly from soprano Ellie Laugharne, whose Adina is breezy and warmhearted, a natural for comic timing, a genuinely magnetic stage presence and a creamy and nimble voice. None of the rest of the cast matches her.
www.theguardian.com/music/2016  ...  tish-opera-tour

Ellie Laugharne as the teasing Adina is a constant fascination, both as actor and singer, finding that essential mix of social confidence and private vulnerability.
https://www.scotsman.com/lifestyle/culture/opera-review-scottish-opera-the-elixir-of-love-1-4238268

There was some very fine singing from the young cast, soprano Ellie Laugharne taking the honours with a honeyed, warm-spirited and riveting performance as Adina, holding the attention on stage.
bachtrack.com/review-elixir-lo  ...  ra-october-2016

Zerlina - Don Giovanni - Classical Opera Company

Ellie Laugharne was completely charming as Zerlina, responding delightfully to Jacques Imbrailo's beautifully sung La ci darem and making Batti batti (an aria I always rather worry about) work well.
www.planethugill.com/2016/06/v  ...  ovanni.html?m=1

Laugharne brought a pure lyric beauty to her duet with Imbrailo. She gave an accomplished, highly engaging performance of Batti, batti bel Masetto.
seenandheard-international.com  ...  od-instruments/

Despina - Cosi fan tutte - Opera North

His laboratory assistant is a versatile Ellie Laugharne as Despina, a cheeky soubrette who at times steals the show as she bustles around as maid, doctor and lawyer. For much of the time she has a faintly Japanese look, with what appear to be red chopsticks in her hair, her soprano is fresh, her diction crystal-sharp. Her Act II aria “A woman at fifteen years old” (Una donna a quindici anni) is truly memorable.
bachtrack.com/review-cosi-fan-tutte-albery-opera-north-leeds-february-2016

Despina, the women’s maid, becomes a vital tool in Alphonso’s wicked plan. In the most truly comic role of the opera, soprano Ellie Laugharne charted her Pinteresque, table turning way from downtrodden servant to manipulator of her Mistresses with cheeky aplomb. This is much more than a bit part. Mozart wrote some vocally demanding passages that were carried off with a skill that matched Laugharne’s acting ability and comic timing.
seenandheard-international.com  ...  ood-as-it-gets/

Ellie Laugharne’s Despina emerge(s) as the true head of La Scuola degli amanti, as she tirelessly whisked everyone into shape - and gave the unattributed translation the best diction of them all.
Martin Dreyer, Opera Magazine

Laugharne sings with clarity and great beauty, while also managing moments of comic impersonation and irony with style. She… moves around the space with an easeful grace.
www.britishtheatreguide.info/reviews/cosi-fan-tutte-leeds-grand-the-12520

The role of the maid Despina was brilliantly handled by Ellie Laugharne, whose energy and humour drove the action forward.
www.northwestend.co.uk/index.p  ...  e-lowry-salford

Laugharne is charming as Despina brimming with energy, a very generous performance.
www.thereviewshub.com/opera-north-cosi-fan-tutte-the-lowry-salford/

Ellie Laugharne’s Despina is a sheer treat and left me breathless. With a wicked glint in her eye and a love of the finer things that she can’t have as a ladies maid she is Despina as Despina is meant to be.
www.leedsguide.co.uk/absolutely-amazing/


2015

2015

Tina - Flight - Opera Holland Park

Ellie Laugharne’s creamy, lyric soprano was well-suited to Tina.
bachtrack.com/review-dove-flight-barlow-opera-holland-park-june-2015

There are some sharply-etched characterisations too – in particular from Ellie Laugharne.
www.telegraph.co.uk/culture/mu  ...  d-pleasure.html

Ellie Laugharne and Jeffrey Lloyd-Roberts as the couple trying to re-kindle a lost love likewise – she vocalising a nice bit of operatic ‘rage’ in the final Act.
www.classicalsource.com/db_control/db_concert_review.php?id=12893

Emirena - Adriano in Siria - Classical Opera

Ellie Laugharne’s Emirena and Filipa van Eck’s Sabina sparkle confidently as friends and rivals in Adriano’s romantic confusion.
www.thetimes.co.uk/tto/arts/music/classical/article4412170.ece

Emirena sung by sweet-toned and agile soprano Ellie Laugharne.
bachtrack.com/review-bach-adriano-siria-classical-opera-london-april-2015

Laugharne impressed in the way she coped with the bravura with poise and yet had the beauty of tone and sense of phrasing to bring the more lyrical, Mozartian moments off too.
www.planethugill.com/2015/04/jc-bachs-adriano-in-siria.html?m=1

Barbarina - Le Nozze di Figaro - Opera North

…an ear-catching Ellie Laugharne making the most of Barbarina’s fleeting appearance
www.theguardian.com/music/2015/feb/01/marriage-of-figaro-opera-north-review

Barbarina’s lovely aria is sung with intelligence and warmth by Ellie Laugharne. https://operabritanniauk.wordpress.com/2015/01/26/mozart-le-nozze-di-figaro-opera-north-24th-january-2015/ 

Ellie Laugharne’s charming Barbarina is definitely one to watch, especially after her portrayal of the Governess for Opera Holland Park last year. http://www.thestateofthearts.co.uk/features/review-opera-norths-the-marriage-of-figaro-at-leeds-grand-theatre/ 

Ellie Laugharne seizes her moments well as a bold and cheeky Barbarina. http://www.britishtheatreguide.info/reviews/the-marriage-of-the-lyric-theat-11304 


2014

2014

Barbarina - Le Nozze di Figaro - ENO

Ellie Laugharne gives an eyecatching performance as a tipsy Barbarina, with beautiful ornamentation at the end of her “L’ho perduta.”
bachtrack.com/review-marriage-figaro-shaw-eno-october-2014

Amidst the smaller roles Lucy Schaufer as Marcellina and Ellie Laugharne as Barbarina stand out. As the latter sings 'L'ho perduto, me meschina' one senses we may be looking at another Susanna in the making. musicomh.com

Any superlatives should also include...a very fine Barbarina from Ellie Laugharne. Arts desk

Ellie Laugharne a delightful Barbarina. operabritanniauk

Governess - The Turn of the Screw - Opera Holland Park

Rightly, the heart of the opera is Ellie Laugharne’s Governess. Looking like one of those willowy English roses who got regularly terrorised in Seventies Hammer Horror, she combines beauty of sound with nerve-shredding vulnerability.
Neil Fisher, The Times

Ellie Laugharne shines as the Governess… her voice gleaming throughout.
Erica Jeal, The Guardian

Singing with bell-like clarity, Ellie Laugharne makes a painfully isolated and more than usually sympathetic Governess; her hesitant writing of the hopeless letter to the children’s guardian becomes a cry from a sincerely troubled heart and the production’s emotional centre…
Rupert Christiansen, The Telegraph

Far from neurotic or hysterical, as she could equally convincingly be portrayed, Ellie Laugharne’s Governess is the picture of virtue, vocally pure and girlish.
Hannah Nepil, Financial Times

From the outset Ellie Laugharne brings an appropriate sense of feeling and concern to the Governess as she applies tenderness and subtlety to a sound possessed of brilliant clarity.
Sam Smith, www.musicomh.com

The adult cast are led by Ellie Laugharne’s Governess –all warm manner and silvery vocals – whose innocent intentions are beyond question...exquisite performance.
Alexandra Coghlan, www.theartsdesk.com

Ellie Laugharne is touchingly vulnerable as the Governess.
George Hall, www.thestage.co.uk

At the heart of the drama stood Ellie Laugharne’s Governess. Her helplessness and her goodness – not saccharine, but human – came across powerfully indeed, torn as she was between incompatible, maybe impossible, paths to take… certainly one of the finest performances I have witnessed at Opera Holland Park.
Mark Berry, www.seenandheard-international.com

The singing is universally excellent. Ellie Laugharne sings the role of the Governess – she is never named – with beauty of tone and conveys a growing sense of dread and despair with total conviction.
Owen Davies, www.playstosee.com

Ellie Laugharne was fantastic as the Governess: all bright eyed innocence, just a little in love with her mysterious employer; becoming slowly terrified of the ghosts and the children, while wanting to save them.
Hilary Glover, www.planethugill.com

Ellie Laugharne sang with energy and passion, revealing a full, rich soprano. Claire Seymour www.operatoday.com


2013

2013

Lucia - The Rape of Lucretia - Glyndebourne Touring Opera

Ellie Laugharne as… Lucia excel(s) as their ghostly female counterparts.
The Independent, Michael Church

Ellie Laugharne and Catherine Wyn-Rogers play the handmaidens gracefully.
The Telegraph, Rupert Christiansen

Ellie Laugharne’s Lucia complete(s) the nicely balanced female palette.
The Times, Hilary Finch

Ellie Laugharne’s lively, bright Lucia and Catherine Wyn-Rogers pure-toned Bianca suggested honest, uncomplicated friendship and love within the female domain.
Opera Today

Sandrina - La Finta Giardiniera - Buxton Opera Festival

The ensemble singing and acting are first rate, with Ellie Laugharne in the title role. The soprano and tenor of Ellie Laugharne and Andrew Kennedy were exceptionally strong casting: she's still at the beginning of what should be a remarkable career.
Themanchestertheatreawards

Laugharne seemed to have wandered in from another TV programme, as her touching and delicate lamenting threaded its way through the piece… miraculously, (she) managed to elicit our sympathy for a character whose plight was, to a certain extent, self-inflicted. Laugharne and Kennedy created a believable spark between them, no matter what other craziness was going on. Planet Hugill

Top-quality standards, too, are to be found among the seven principals. Ellie Laugharne's Violante is vital in tone and emotionally spirited. The Guardian

Ellie Laughame's Violante/Sandrina provided excellent counterbalance to all this frivolity with great singing.
operajournal.blogspot.co.uk/2013/07/mozart-la-finta-giardiniera.html

Ellie Laugharne as The Marchesa Violante… acted with conviction and sang with a warm soprano. Seenandheard-international

In the title role, Ellie Laugharne makes an attractive Violante
Theartsdesk.com

Mabel - The Pirates of Penzance - Scottish Opera

As the lovely Mabel, Ellie Laugharne’s upward-spiralling arias were spot-on.
The Daily Record

Ellie Laugharne had a lovely way with the coloratura, light and delicate while still retaining lots of charm… probably the highlight of the whole show.'
Seen and Heard International

Ellie Laugharne as Mabel in particular does a brilliant job playing-it-straight amongst the madness. www.freshair.org.uk/team/arts/posts/17-review-the-pirates-of-penzance

Mabel of Ellie Laugharne led them with energy, commitment, humour, and a focussed voice.
www.walterpaulproductions.co.uk/page_2811221.html


2012

2012

Barbarina - Le Nozze di Figaro - Glyndebourne Tour

Ellie Laugharne is a delight as a mini-skirted, all-singing, all-dancing Barbarina.
The Times

It is also certainly worth mentioning the impressive talent of Ellie Laugharne, as Barbarina, as while she has one of the smaller rôles within the piece her voice is sublime and she plays her comic rôle perfectly. Never overshadowing the main players, she adds perfectly to the unfolding story.
www.thereviewshub.com/le-nozze-di-figaro-theatre-royal-norwich/

Ellie Laugharne sexy as a Mary Quantesque Barbarina
www.whatsonstage.com

Ellie Laugharne's Barbarina is prettily pert.
www.whatsonstage.com

Ellie Laugharne an unaffected Barbarina.
The Financial Times, Hannah Nepil

Jerwood Young Artist Recital - Brighton Festival, Pavilion Theatre

In just one hour we experienced joy, love, sorrow, pain and infidelity and we believed every minute of it. The enchanting Ellie Laugharne's elastic and infinitely flexible soprano voice adapted to whatever she sang - a bewitching Susanna in particular. www.theargus.co.uk

Tytania - A Midsummer Night's Dream - Guildhall School of Music and Drama

Eleanor Laugharne…a sexy, seductive Tytania, all legs and suspenders ready to entwine the unsuspecting Bottom. Her soprano has a gleaming top and she negotiates the tricky leaps Britten writes for her with ease. opera-britannia.com

Eleanor Laugharne (Tytania) achieved a delightful combination of disquieting vocal purity and operatic sensuality. bachtrack.com

Laugharne’s Tytania is assured and queenly - the standout vocal performance of the evening - controlling a rather heavier voice than Britten’s writing suggests with absolute musicality. theartsdesk.com

Eleanor Laugharne’s Tytania... sparkling high notes. www.thetimes.co.uk

Any of the first night's cast could walk onto any of the world's famed opera houses to deliver their roles. Eleanor Laugharne is a very strong Tytania; her vocal technique is rock solid. She effortlessly tackles Tytania's difficult flourishes and big leaps to the top notes... and she is fully convincing dramatically. www.musicalcriticism.com

Tytania was Eleanor Laugharne; rather more overtly sexy than many Tytanias. Laugharne combined this with a attractive lyric voice... richly attractive with a lively stage personality and she clearly has a strong technique, the various vocal flurries of the role seem to hold no terrors for her. She and Oberon had a believably volatile, sparky relationship. www.planethugill.com

There was one particular stand-out vocal performance from Eleanor Laugharne as a confident, queenly Tytania. articleblast.com 

One especially noteworthy, staggering performance from Eleanor Laugharne as Queen Tytania. artsdesk 


2011

2011

Susanna - Le Nozze di Figaro - British Youth Opera 

If I were booking talent, I'd make a beeline for Ellie Laugharne's dressing room armed with a contract: her Susanna was sung with imagination, charm and real individuality. Neil Fisher The Times 

Ellie Laugharne sparkles as the clever and mischievous Susanna. www.ayoungertheatre.com 

Ellie Laugharne... has a really strong and magnetic stage presence that reminded me of a young Joyce DiDonato. Opera Now

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