R e v i e w s

Paris & Helen, Summer 2021
Bampton Classical Opera, Touring
"Each member of the cast contributes a finely sung, authentically acted performance. The attraction and often heated discussions between Ella Taylor's resolute Paris and Lucy Anderson's volatile Helen take centre stage."
- George Hall, The Stage
"Lucy Anderson, winner of the 2019 Bampton Classical Opera Young Singers’ Competition, commands the stage as Helen, singing with eloquent grace...the duets with [Ella Taylor and] Lucy some of the highlights of the evening and their voices are bright, again notably clear in diction and responsive to nuance."
- Clive Peacock, Seen and Heard International
La Corona, Spring 2021
Bampton Classical Opera, St John's Smith Square, London
"Lucy Anderson gave a tremendous performance of Asteria’s ‘Anch’io mi sento in petto’ in which one truly felt her fortitude and determination to fight like the men"
- Sam Smith, MusicOMH
"Lucy Anderson’s soprano displayed a lovely shine as Asteria savoured the sparks of bravery glowing in her breast"
- Claire Seymour, Opera Today
Bampton Classical Opera Young Singers' Prize, Winter 2019
Holywell Music Room, Oxford
"The decision was reached after a superb final on Sunday 17 November...The judges were impressed with Lucy’s overall performance, and her partnership with Dylan Perez. Bonaventura Bottone said: Strongest in her characterisation of Marenka's aria ‘Och, jaký žal!...Ten lásky sen’, through to closing with Ben Moore's sizzling 'The Audience Song', Lucy communicated in delightful collaboration with Dylan to present a musically expressive recital programme."
- Opera Today
Scottish Opera Highlights Tour, Spring 2019
Various venues around Scotland
"Soprano Lucy Anderson throws up a brilliantly unhinged Blanche Dubois from André Previn’s A Streetcar Named Desire."
- Ken Walton, The Scotsman
A Dinner Engagement, Summer 2018
Guildhall School of Music & Drama
"The singing is strong across the board, with Lucy Anderson as the Countess of Dunmow demonstrating impressive control over her soprano."
- Sam Smith, MusicOMH
"The opera handsomely showcases singing and acting, with Lucy Anderson brilliantly channeling Mary Berry as the Countess and Samuel Carl’s Earl faintly evoking the hapless Johnnie Craddock, both of them sharp comedians."
- Peter Reed, Classical Source
"[Samuel] Carl and Lucy Anderson made a vocally fetching and dramatically sympathetic pair, singing and acting with confidence and command."
- Claire Seymour, Opera Today
Dialogues des Carmélites, Spring 2018
Guildhall School of Music & Drama
"The role is demanding and fairly continuous and anyone playing her has a long emotional journey to make. Lucy Anderson does this very convincingly, with fine acting quite apart from finding the full vocal range from timorousness through to authority."
- Tim Hochstrasser, Live Theatre UK
“As Blanche, Lucy Anderson has excellent presence, and ensures that her performance provides a strong centre to the evening.”
- Sam Smith, MusicOMH
“Anderson's performance was one of remarkable and sustained power…her Act Two scene with her brother (Eduard Mas Bacardit) saw Anderson and Mas Bacardit developing a gripping tension. And Anderson brought the climactic final scene to a poised close.”
- Robert Hugill, Planet Hugill
“Her lyric soprano has a lovely Straussian gleam, ideal for expressing Blanche’s innocence. Her big scenes – with the ailing Prioress when she offers herself as a novice, and with her brother, the Chevalier, who begs her to save herself from the Revolution – have great authority.”
- Peter Reed, Classical Source
“Lucy Anderson’s Blanche was fittingly unbalanced and febrile…the rich layers of her soprano blossomed with lyric intensity.”
- Claire Seymour, Opera Today
“…her rich, focused soprano proved she had the measure of the role.”
- Mark Valencia, BachTrack
The Consul, Autumn 2017
Guildhall School of Music & Drama
"Seldom absent from the stage, Lucy Anderson was a compelling Magda, radiantly riding the Puccinian peaks of her 'Papers' aria as she erupted in furious despair at the Secretary's intractability."
- Claire Seymour, Opera Magazine, January 2018
"The huge main role of Magda, who is rarely offstage, was sung with heartfelt conviction by Lucy Anderson. Watch out for her."

- Fiona Maddocks, The Observer, November 2017


Le Nozze di Figaro, Summer 2012
Greyfriars Kirk, Edinburgh Festival Fringe

"The standout, however, was Lucy Anderson's barnstorming Countess, with a voice that effortlessly glided through her two arias with power and grace."

- Broadway Baby, August 2012

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