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Governess - The Turn of the Screw, Opera Holland Park July 2014

Governess - The Turn of the Screw, Opera Holland Park July 2014

The cast, however, don’t put a foot wrong and seal the deal…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, saving herself for the final moments, but 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…Finely tuned cast. Rupert Christiansen, The Telegraph

It all makes for a memorable evening, that leaves various questions open and boasts some inspired casting. 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,

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,

A beautiful governess by Ellie Laugharne.

Miskimmon had elicited detailed, first-class acting and clear diction from everyone…Ellie Laugharne (Governess) produced a silvery vocal quality. David Gutman,

Ellie Laugharne is touchingly vulnerable as the Governess. George Hall,

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…It is difficult, of course, to discern precisely where personal performance ends and directorial conception begins; but that is the hallmark of a fine opera production. This is certainly one of the finest performances I have witnessed at Opera Holland Park. Mark Berry,

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…The truly shocking ending leaves the audience both stunned and chastened. Owen Davies,

The Turn of the Screw in the atmospheric setting of Holland Park was a real treat…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,

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

Lucia - The Rape of Lucretia, Glyndebourne Touring Opera 2013

Shaw is wonderfully served by her cast and musicians…while Catherine Wyn-Rogers and Ellie Laugharne as Bianca and Lucia excel as their ghostly female counterparts. The Independent, Michael Church

And Shaw draws magnificent performances from a mostly young cast…Ellie Laugharne and Catherine Wyn-Rogers play the handmaidens gracefully. The Telegraph, Rupert Christiansen

Catherine Wyn-Rogers’s Bianca and Ellie Laugharne’s Lucia complete the nicely balanced female palette. The Times, Hilary Finch

The singers are close to ideal, every one of them. There's no bargain-basement casting for this tour; it's an A-list ensemble of exceptional quality, and everyone's exemplary diction makes the surtitles quite unnecessary...Ellie Laugharne (is) strong in support. Whatsonstage

Duncan’s libretto depicts the rigid divisions in Roman society between male and female groups. Here, the Etruscan soldiers were crude, misogynistic competitors, convincingly brazen and coarse. In contrast, 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 2013

The long scene in act three, when Belfiore and Violante are reconciled, was beautifully done, taking the characters seriously and here Kennedy and Laugharne were able to touch us with their character's plight. Elsewhere, Laugharne seemed to have wandered in from another TV programme, as her touching and delicate lamenting threaded its way through the piece. Laugharne, miraculously, managed to elicit our sympathy for a character whose plight was, to a certain extent, self-inflicted. From the moment in act one when Kennedy's Belfiore arrived, you felt the two needed their heads banging together. Laugharne and Kennedy did created a believable spark between them, no matter what other craziness was going on. Fehr and Travoris went a little too far, I think, in cheering the piece up but they had the benefit of a very fine cast who entered into the conception completely and gave us a fully rounded performance. 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

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

Ellie Laughame's Violante/Sandrina provided excellent counterbalance to all this frivolity with great singing, but were also allowed to let themselves go as the occasion demanded.

Ellie Laugharne as The Marchesa Violante, disguised as the eponymous gardener girl, acted with conviction and sang with a warm soprano. Seenandheard-international

In the title role, Ellie Laugharne makes an attractive Violante, strongly matched by Andrew Kennedy’s Belfiore. The arstdesk

Mabel - The Pirates of Penzance, Scottish Opera 2013

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

'The central pair of Frederic and Mabel, both making their Scottish Opera debuts, worked very well indeed. Sam Furness's light tenor voice was perfect for the role and Ellie Laugharne had a lovely way with the coloratura, light and delicate while still retaining lots of charm. Their duet 'O leave me not to pine' was 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. Helen Russell

Mabel of Ellie Laugharne led them with energy, commitment, humour, and a focussed voice.

Barbarina - Le Nozze di Figaro, Glyndebourne Tour 2012

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

It is also certainly worth mentioning the impressive talent of Ellie Laugharne, as Barbarina, as whilst she has one of the smaller roles within the piece her voice is sublime and she plays her comic role perfectly. Never overshadowing the main players, she adds perfectly to the unfolding story.  Lu Greer

Ellie Laugharne's Barbarina is prettily pert.  By Anne Morley-Priestman 

Ellie Laugharne sexy as a Mary Quantesque Barbarina By Karen Bussell 

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

Ellie Laugharne as Barbarina sang and acted very prettily.

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