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R e v i e w s

Götterdämmerung, Summer 2022
Grimeborn Festival, Hackney Empire
"There were strong individual performances with Lucy Anderson as a warmly vibrant Gutrune"
- Planet Hugill
"The sibling pawns in Hagen’s plot, Simon Thorpe’s Gunther and Lucy Anderson’s Gutrune, were touching in their vulnerability."
- Bachtrack
"Lucy Anderson made more of the under-written part of Gutrune than usual"
"Lucy Anderson sang sweetly what was left of Gutrune’s involvement"
- Seen and Heard International
Eugene Onegin, Summer 2022
Opera Holland Park
"The soprano Lucy Anderson used her robust vocal resources to create an appealing two-part character. Her teenage Tatiana as well defined but her Princess Gremina, resplendent in a crimson ballgown, was even more persuasive."
- Opera Magazine

“As Tatyana and Onegin, Lucy Anderson and Rory Musgrave are impressively credible. Anderson has a complex, vibrato-rich tone...the Letter Scene was just gorgeous, a triumph for both her [Hannah von Wiehler] and Lucy Anderson.”

- The Arts Desk

“Lucy Anderson impressed with her Tatiana. Before our eyes she grew on stage, from unworldly girl to confident woman of St Petersburg society. On the night, Anderson displayed all the talents of the dramatic soprano, thrilling us with her powerful, emotive voice. She always had the vocal power and now she has prodigious poise and acting skills. She lived and breathed Tatiana. It is a role she is well suited to.”

- Art Muse London


"In this performance Lucy Anderson as Tatyana delivers every note and nuance in the challengingly long letter scene which she sustains with admirable control.”

- Susan Elkin Reviews


“Lucy Anderson's portrayal of Tatyana was wonderfully consummate and complete. In the first half she was all dreamy bookishness. Not naive, this Tatyana was simply more involved in her interior world than the exterior and it took someone as robust as Onegin to break through. Her letter scene was finely done and very moving. Anderson has quite a vibrant voice, more than equal to the demands of this role, yet in this scene she also managed to remain a young girl, and her intense reactions in the third scene were finely judged. When we saw her again, as Princess Gremin, Anderson was transformed and we really believed in this poised and controlled figure, whose manipulation of Onegin in their duet was beautifully done yet with a strong undertow of emotion. This was a finely sung and finely acted performance, and I cannot wait to see what Anderson does next.”

- Planet Hugill


“Lucy Anderson is a more diffident Tatyana [than Anush Hovhannisyan]... This makes her great outpouring of passion in the letter scene even more compelling – a young girl discovering herself and her feelings.”

- The Arbturian

Paris & Helen, Summer/Autumn 2021
Bampton Classical Opera, Touring
"Lucy Anderson’s equally multi-faceted Helen, knowingly beguiling and resistant, ultimately moved — perhaps musically as much as verbally — to confront and acknowledge the transformation of her own feelings."
- Mark Berry, Seen and Heard International
"Lucy Anderson found a terrific glint and flashes of fire in Helen’s arias, ensuring that we appreciated the Spartan queen’s feisty independence, but she also made sure that we warmed to Paris’s prevaricating beloved... The blending in the duets and trios was wonderfully comforting, and the combined voices bloomed with colour and spirit."
- Claire Seymour, Opera Today
"They [Ella Taylor] were well matched by Lucy Anderson's powerfully expressive Helen."
- George Hall, Opera Now
"Lucy Anderson made a superb foil as Helen, the opera only gradually brings her character into focus and I loved the way Anderson managed to balance Helen's clear attraction to Paris and her being taken aback at the sheer force of his passion. It is Helen's emotions which make the drama in the second half of the opera work so well, and Anderson brought out, through the music, the way Helen is torn between accepting and rejecting Paris. Anderson had some of the more bravura elements in the which Anderson shone."
- Robert Hugill, Planet Hugill
"Lucy Anderson communicated Helen's confusion, indignation and desire with a wide-ranging palette, considerable power and vocal flexibility."
- Claire Seymour, Opera Magazine
"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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