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.
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.
Ellie Laugharne stands out for the sweetness and shape that she brings to her sound as Phyllis.
Ellie Laugharne and Marcus Farnsworth, as Phyllis and Strephon, are a perfect Arcadian couple who might have stepped off a Wedgwood vase.
The shepherd-and-shepherdess couple of Marcus Farnsworth and Ellie Laugharne gave us the strongest purely operatic voices of the evening.
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.
There was a brilliant number of clog dancing from Ellie Laugharne and Marcus Farnsworth, which should surely go down in history.
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.
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.
Marcus Farnsworth and Ellie Laugharne are excellent as the dainty Arcadian Strephon and Phyllis.
The light voice of Ellie Laugharne is perfect for Phyllis, and one hopes to hear more from her.
Ellie Laugharne sounds sparkling as Phyllis.
Ellie Laugharne’s Phyllis charms
Laugharne shapes her lines with delightful alertness
Ellie Laugharne brings a bright and silvery vocalism to Phyllis.
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.
Ellie Laugharne’s Temperance was lucid and graceful.
Soprano Ellie Laugharne’s aria ‘Rerum, quas perpendimus’ revealed a singer of cleanliness – particularly as regards her slurs – and accuracy.
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.
Ellie Laugharne so much more than a naive working-class girl in a deft and well-projected portrayal of Zerlina.
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.
Ellie Laugharne was in radiant voice as the biddable Zerlina.
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.
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.
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.
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.
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.
Laugharne brought a pure lyric beauty to her duet with Imbrailo. She gave an accomplished, highly engaging performance of Batti, batti bel Masetto.
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.
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.
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.
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.
The role of the maid Despina was brilliantly handled by Ellie Laugharne, whose energy and humour drove the action forward.
Laugharne is charming as Despina brimming with energy, a very generous performance.
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.
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.”
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.
Ellie Laugharne shines as the Governess… her voice gleaming throughout.
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…
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.
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.
The adult cast are led by Ellie Laugharne’s Governess –all warm manner and silvery vocals – whose innocent intentions are beyond question...exquisite performance.
Ellie Laugharne is touchingly vulnerable as the Governess.
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.
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.
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.
Ellie Laugharne sang with energy and passion, revealing a full, rich soprano. Claire Seymour www.operatoday.com
Lucia - The Rape of Lucretia - Glyndebourne Touring Opera
Ellie Laugharne as… Lucia excel(s) as their ghostly female counterparts.
Ellie Laugharne and Catherine Wyn-Rogers play the handmaidens gracefully.
Ellie Laugharne’s Lucia complete(s) the nicely balanced female palette.
Ellie Laugharne’s lively, bright Lucia and Catherine Wyn-Rogers pure-toned Bianca suggested honest, uncomplicated friendship and love within the female domain.
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.
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.
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
Mabel - The Pirates of Penzance - Scottish Opera
As the lovely Mabel, Ellie Laugharne’s upward-spiralling arias were spot-on.
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.'
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.
Barbarina - Le Nozze di Figaro - Glyndebourne Tour
Ellie Laugharne is a delight as a mini-skirted, all-singing, all-dancing Barbarina.
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.
Ellie Laugharne sexy as a Mary Quantesque Barbarina
Ellie Laugharne's Barbarina is prettily pert.
Ellie Laugharne an unaffected Barbarina.
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