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  Mezzo Sopranos: Heather Shipp - Reviews
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The Yeoman of the Guard‚ City of Birmingham Symphony Orchestra
Critics Circle (March 2017)


'Senior artistes such as Sir Thomas Allen (Sergeant Meryll) and Catherine Wyn-Rogers (a Hyacinth Bucket-like Dame Carruthers) headed a charmingly dedicated cast: ... Heather Shipp a hugely positive presence as Phoebe ...'

Der Ring des Nibelungen‚ Opera North
BachTrack (July 2016)


'Heather Shipp’s urgent‚ vehement Waltraute impressed'

Der Ring des Nibelungen‚ Opera North
MusicOMH (July 2016)


'Heather Shipp was an excellent Waltraute and this Ring Cycle was one of the very few to see the character played by the same person in Die Walküre and Götterdämmerung. '

Der Ring des Nibelungen‚ Opera North
Opera Today (July 2016)


'One of the finest assumptions of the afternoon/night was Heather Shipp’s Waltraute‚ her Narration (“Höre mit Sinn”) finding the bull’s eye of Wagnerian concentration; later in the act‚ she actually sounded believably furious. '

Der Ring des Nibelungen‚ Opera North
The Arts Desk (July 2016)


'...the three glassy-eyed Norns (thrillingly sung by Fiona Kimm‚ Yvonne Howard‚ Lee Bisset‚ pictured right) searching for meaning somewhere above the Stalls...'

Der Ring des Nibelungen‚ Opera North
Seen & Heard International (May 2016)


'Special mention must go to Heather Shipp who leapt to the rescue when Susan Bickley‚ due to sing Waltraute in Götterdämmerung‚ became indisposed at very little notice. Heather‚ having sung second Norn‚ changed costume and returned in the same act to render a very moving Waltraute.'

Aida‚ Opera Holland Park
Opera Now (October 2015)


'Heather Shipp‚ whose Amneris was the only character of any interest...Shipp introduced the only human note‚ singing with great stillness art and emotion'

Aida‚ Opera Holland Park
Opera (September 2015)


'Heather Shipp’s sensationally toxic Amneris‚ an aspect mercilessly exploited by the staging. Shipp’s baleful low register lacked variety‚ but within her comfort range she had formidable presence and she matched Jeffers in the emotional blast of their Act 2 confrontation‚ managing to gain our sympathy in the last act'

Aida‚ Opera Holland Park
British Theatre.com (July 2015)


'In some ways the most interesting character in the opera is Amneris who experiences the most taxing dilemmas and whose inner life we glimpse more keenly than is the case of the other lead roles. She is the embodiment of the conflict between individual preference and duty to the state‚ and by the end the mouthpiece for what Verdi wants us in the audience to feel and think. After something of a slow start Heather Shipp brought these dimensions out powerfully in her strong stage persona and heroic yet plangent tone'

Aida‚ Opera Holland Park
MarkRonan.com (July 2015)


'Heather Shipp made an elegant and dramatically very effective Amneris‚ admirably human and not as nasty a piece of work as is sometimes portrayed'

Aida‚ Opera Holland Park
BachTrack.com (June 2015)


'Heather Shipp stood out as a haughty super-bitch of an Amneris‚ with a scornful chest register to match...She and Peter Auty (Radamès) shone in their fiery Act IV confrontation'

Aida‚ Opera Holland Park
Classical Source.com (June 2015)


'Heather Shipp as Amneris‚ whose vocal and dramatic presence is a standout...'

Aida‚ Opera Holland Park
Guardian (June 2015)


'Heather Shipp’s rich-bitch Amneris...Shipp is utterly compelling...'

Aida‚ Opera Holland Park
The Stage (June 2015)


'Heather Shipp hits the musical and dramatic heights as her rival‚ the Egyptian princess Amneris'

Aida‚ Opera Holland Park
The Times (June 2015)


'...the Alexis Colby-esque Amneris of Heather Shipp...there are performers here who are serious about Verdi...Shipp’s acidic Amneris skilfully uses the text to make her voice fit the role'

Aida‚ Opera Holland Park
What’s On Stage.com (June 2015)


'Heather Shipp is excellent in the role‚ impassioned and committed...'

Norma‚ Opera Holland Park
MusicOMH.com (April 2015)


'...it certainly boasts an excellent cast‚ which includes Gweneth-Ann Jeffers‚ Peter Auty‚ Graeme Broadbent and Heather Shipp. The latter in particular put in possibly the performance of a lifetime as Adalgisa in Norma here last year'

Salome‚ Northern Ireland Opera
Telegraph (February 2015)


'Herod and Herodias were sharply etched by Michael Colvin and Heather Shipp'

Salome‚ Northern Ireland Opera
The Times (February 2015)


'Heather Shipp’s Herodias (in a pink jumpsuit straight out of Valley of the Dolls) lights up another cigarette and fumes...Musically this is another bold achievement by NI Opera...Shipp’s Herodias and Michael Colvin’s Herod were poisonously effective'

Norma‚ Opera Holland Park
Opera (September 2014)


'She (Yvonne Howard) was well matched by Heather Shipp’s superb Adalgisa‚ the younger mezzo model who usurps Pollione’s affections. Shipp’s light‚ malleable mezzo complimented Howard’s voice in the magnificently sung duets‚ and her acting ably expressed Adalgisa’s impossible situation '

Norma‚ Opera Holland Park
Planet Hugill.com (August 2014)


'It was lovely to hear a Norma where the roles of Norma and Adalgisa were very balanced‚ in terms of vocal quality. This gave a riveting sense to Adalgisa’s duets with Norma and I was very impressed with the stylish way that Heather Shipp handled the more complex bel canto passagework‚ and the flexibility that she had in her upper voice. This made Mira O Norma a complete joy‚ as the two voices intertwined and balanced each other. Elsewhere‚ Shipp made Adalgisa’s passion perfectly obvious and she was a strong third partner in the trio. Adalgisa can be role where you end up feeling irritated that the girl could be so foolish. But here Shipp managed to wring our hearts‚ and do so without ever going beyond the confines of Bellini’s vocal line. A very fine performance'

Last Night of the Prague Proms
Opera Plus (July 2014)


'Jednalo se o sympatickou britskou mezzosopranistku Heather Shipp‚ dámu s vynikajícím klasickým peveckým školením‚ mající za sebou krome cetných hostování v britských a dánských operních domech i úspešná vystoupení v menších úlohách v Bergove Lulu a Wagnerových Mistrech pevcích norimberských v londýnské Covent Garden pod taktovkou Sira Antonia Pappana. Napjate jsem ocekával‚ jak si umelkyne s tímto životopisem poradí s prvním vokálním císlem programu‚ slavnou písní All That Jazz z Kanderova a Ebbova muzikálu Chicago. Výsledek me príjemne prekvapil: Shipp nasadila dokonale ležérní kabaretní styl‚ ve kterém nalezl stopy operní prupravy jen ten‚ kdo ho tam opravdu hledal. Broadwayský „showstopper“‚ proslavený Ute Lemper a ve filmu Catherine Zetou-Jones‚ prednesla zpevacka s hlasem atraktivní tmavé barvy a s profesionalitou‚ která koncert okamžite posunula do vyšších umeleckých pater‚ než by se dalo predpokládat.'

Last Night of the Prague Proms
Opera Plus (July 2014)


'Heather Shipp pak dostala možnost presvedcit o dalších polohách svého talentu ve trech písních‚ které už dávno patrí mezi osvedcené hity. Nejprve dala zapomenout na zažitou interpretaci songu Can You Feel the Love Tonight ze Lvího krále v podání Eltona Johna. Prednesla baladu s patosem témer operním a ukázala tak obehranou písen ve zcela novém svetle. Podle mého názoru mnohem lépe než Renée Fleming si Shipp poradila s Cohenovým Hallelujah (zde dávaným do spojitosti s animovaným filmem Shrek). Zatímco americká superstar se pri její interpretaci spíše dojímá sama nad sebou‚ britská pevkyne zpívá písen s uveritelnou pokorou‚ což je myslím presne to‚ co autor Leonard Cohen zamýšlel… S publikem se Heather Shipp rozloucila oscarovou Skyfall ze stejnojmenné poslední bondovky a aplus‚ který si za tento hit zpevacky Adele vysloužila‚ byl zcela oprávnený. Nemám predstavu‚ kam se bude talent této chameleonské „presahové umelkyne“ ubírat dál‚ ale urcite stojí za to si její jméno do budoucna dobre zapamatovat.'

Norma‚ Opera Holland Park
BachTrack.com (July 2014)


'(Yvonne) Howard was well matched by Heather Shipp’s attractive timbre as Adalgisa: their duets were intricately woven and Shipp showed herself more than capable of taking command of the stage at the appropriate moments...This production excels orchestrally‚ is well acted throughout and has fine vocal performances from its two female leads. All this makes it well worth seeing'

Norma‚ Opera Holland Park
Classical Source.com (July 2014)


'I was more impressed by the girls’ powerful duets...It is certainly the female leads that take the honours. Yvonne Howard perhaps humanises Norma without ever letting rip‚ but with Heather Shipp’s touching naivety‚ they work together extremely well as the emotional thread of the opera'

Norma‚ Opera Holland Park
Guardian (July 2014)


'As Adalgisa‚ her rival but ultimately loyal friend‚ Heather Shipp is almost equally fluent and expressive‚ matching (Yvonne) Howard note for note in their great duets'

Norma‚ Opera Holland Park
MarkRonan.com (July 2014)


'Yvonne Howard was superb‚ and with Heather Shipp as Adalgisa these are performances not to be missed. Their duet towards the end of Act I when Adalgisa comes to high priestess Norma wanting to give up her vows of chastity for the love of a man was a glorious example of the emotional tug that bel canto singing can convey in the hands of a master like Bellini...what really counted were the wonderful performances of Heather Shipp as Adalgisa and Yvonne Howard as Norma'

Norma‚ Opera Holland Park
MusicOMH.com (July 2014)


'Yvonne Howard and Heather Shipp put in performances of a lifetime as Norma and Adalgisa respectively‚ and the scene in which the latter confesses her love for a Roman is stunning‚ thanks to the singing and some intelligent direction. The interactions between the pair are highly natural‚ but there are just enough occasions when they face out to the audience (usually at a slight angle) to enable us to focus on the music and engage with the characters’ innermost feelings...Shipp’s mezzo-soprano complements Howard’s own very well‚ and its beautiful roundness in itself encapsulates excellent enunciation‚ precision and resonance. Although some of the men get off to shakier starts‚ the fact that they seem to stand in the shadow of Howard and Shipp is more a reflection of the strength of that pair‚ rather than of any real weaknesses in their own performances'

Norma‚ Opera Holland Park
Seen & Heard International (July 2014)


'Heather Shipp and Joseph Wolverton did an excellent job in the roles of Adalgisa and Pollione. Shipp did well in the duets at the end of the first Act – first with Wolverton and then with Howard – blending well with both performers and doing a splendid job with the composer’s vocal pyrotechnics'

Norma‚ Opera Holland Park
Telegraph (July 2014)


'Heather Shipp makes a sympathetic Adalgisa‚ caught between a rock and hard place‚ loyal to her sex and clan but fatally attracted to Pollione'

Norma‚ Opera Holland Park
The Spectator (July 2014)


'As Adalgisa‚ Norma’s apprentice in druidry but rival in romance‚ Heather Shipp offers plenty of smooth‚ stylish and well-produced singing'

Norma‚ Opera Holland Park
The Stage (July 2014)


'Heather Shipp as Adalgisa...impressive for her supple vocal richness and peaks of resounding power'

Norma‚ Opera Holland Park
The Times (July 2014)


'...Heather Shipp’s volatile‚ shame-faced Adalgisa'

Norma‚ Opera Holland Park
What’s On Stage.com (July 2014)


'The evening’s revelation was Heather Shipp as Adalgisa. The young mezzo’s star has risen fast in recent times‚ and she confirmed her versatility by following up a terrific turn as Second Norn in Opera North’s Götterdämmerung‚ only last month‚ with this completely different role. What Shipp’s acting lacked in finesse it made up for in engagement‚ and vocally she matched Howard pace for pace in their magnificent duets'

Götterdämmerung‚ Opera North
The Arts Desk.com (June 2014)


'Fiona Kimm‚ Heather Shipp and Lee Bisset as the Three Norns are nicely choreographed in the opening scene‚ their twisting movements mirroring their rope spinning'

Götterdämmerung‚ Opera North
What’s On Stage.com (June 2014)


'An extraordinarily strong company of solo singers took Götterdämmerung’s hellish lengths in its collective stride...The opera was framed by three terrific Norns at the start (Fiona Kimm‚ Heather Shipp‚ Lee Bisset)'

Stabat Mater (Rossini) Basingstoke Choral Society
Basingstoke Gazette (April 2014)


'I could easily run-out of superlatives in this review: the adjectives brilliant‚ wonderful‚ and fantastic come immediately to mind. I simply must heap unstinted praise on both choirs‚ Basingstoke Choral Society and the Croydon Philharmonic‚ the four soloists‚ and‚ of course‚ The New London Sinfonia under the leadership of its conductor‚ David Gibson... Heather Shipp (mezzo) was new to me; her rich‚ penetrating midrange reminded me so much of the great Cecelia Bartoli'

Dido and Aeneas‚ Opera North
Opera (April 2013)


'Heather Shipp was a sinuous sorceress'

Dido and Aeneas‚ Opera North
Financial Times (February 2013)


'... the Sorceress (Heather Shipp‚ excellent)'

Dido and Aeneas‚ Opera North
Opera Britannia.com (February 2013)


'Heather Shipp’s lissom Sorceress had echoes of her portrayal of Mad Margaret (nothing wrong in that) baring her teeth in a wolf-like grin that was quite alarming as she invokes her fellow enchantresses-Shipp moves around like a lynx and colours her agile and vibrant mezzo with malice.'

Dido and Aeneas‚ Opera North
The Stage (February 2013)


'Heather Shipp’s delightfully devilish Sorceress'

Dido and Aeneas‚ Opera North
York Press (February 2013)


'Heather Shipp is a sinuous Sorceress'

The Yeomen of the Guard‚ Prom 49 Royal Albert Hall
BachTrack.com (August 2012)


'As a singing actor‚ the stand-out performer was Heather Shipp (brought in as a replacement for Victoria Simmonds)‚ who brought the most edge and verve to her character of Phoebe'

The Yeomen of the Guard‚ Prom 49 Royal Albert Hall
Guardian (August 2012)


'...the cast knew their work and put their routines over with panache. A natural stage animal‚ Heather Shipp brought a meaty mezzo to manipulative Phoebe'

The Yeomen of the Guard‚ Prom 49 Royal Albert Hall
Lark Reviews (August 2012)


'Phoebe – a highly positive performance from Heather Shipp – starts and ends in tears'

The Yeomen of the Guard‚ Prom 49 Royal Albert Hall
Telegraph (August 2012)


'...the assured Heather Shipp as the flirtatiously resourceful Phoebe Meryll'

Ruddigore‚ Opera North
Scotsman (June 2012)


'In a first-class line-up of soloists‚ Heather Shipp sang and acted the odd part of Mad Margaret with gusto. Richard Burkhard’s Sir Despard Murgatroyd was outstanding'

Die Meistersinger von Nürnberg‚ Royal Opera House at Birmingham Symphony Hall
Seen & Heard International (January 2012)


'Heather Shipp as Magdalene more than held her own‚ demonstrating enough to show why Opera North chose her for their production of Carmen last year'

Die Meistersinger von Nürnberg‚ Royal Opera House Covent Garden
Opera (January 2012)


'Heather Shipp’s full-voiced Magdalene was a notably positive foil'

Die Meistersinger von Nürnberg‚ Royal Opera House Covent Garden
Guardian (December 2011)


'In some respects‚ this is a Meistersinger in which the greatest performances aren’t always in the central roles. Toby Spence and Heather Shipp are as good as it gets as David and Magdalene'

Die Meistersinger von Nürnberg‚ Royal Opera House Covent Garden
MusicalCriticism.com (December 2011)


'...in conjunction with Heather Shipp’s feisty Magdalene —there was some unusually detailed and imaginative acting'

Die Meistersinger von Nürnberg‚ Royal Opera House Covent Garden
MusicOMH.com (December 2011)


'Heather Shipp is also a fine Magdalene'

Die Meistersinger von Nürnberg‚ Royal Opera House Covent Garden
Stage (December 2011)


'Heather Shipp offers a full-voiced Magdalene‚ not the usual second-string'

Ruddigore‚ Opera North
Opera (December 2011)


'It might be invidious to single out performances from so cohesive an ensemble‚ but...Heather Shipp avoided every pitfall as Mad Margaret‚ whether in matters of taste or sentimentality - she also supplied the clearest diction in an evening in which old D’Oyly-Carte standards were not consistently met'

Ruddigore‚ Opera North
Comprimario.com (November 2011)


'The final scenes between Mad Margaret and Despard then Dame Hannah and Roderic were probably the strongest (‘Basingstoke!’ being the easiest to recall). Heather Shipp‘s Margaret stood out dramatically'

Ruddigore‚ Opera North
JildySauce.com (November 2011)


'The performances are tip-top‚ and of these I’d pick out Richard Burkhard as the bad‚ bad baronet (no one can swish a cape as he can) and Heather Shipp as the deliriously Mad Margaret'

Ruddigore‚ Opera North
Northern Echo (November 2011)


'The strong cast includes a suitably dotty Heather Shipp as Mad Margaret'

Ruddigore‚ Opera North
Seen & Heard International (November 2011)


'With a cast as outstandingly as good as this‚ with all participants fully into their roles and singing and acting to near perfection‚ it is invidious to pick out individuals. But needs must. Heather Shipp’s zany Mad Margaret is also worthy of special mention as were the patter duets that surely owe something to Rossini'

Ruddigore‚ Opera North
The Public Reviews.com (November 2011)


'Mad Margaret (Heather Shipp) has gone beyond that point after being jilted by Sir Despard Murgatroyd (Richard Burkhard). Shipp delivers a scene-stealing performance as someone who can only be restrained by the use of a code word. But it is the contrasting and moving relationship she forms with a suave and urbane Burkhard that adds heart to the show'

Ruddigore‚ Opera North at Barbican
Classical Source.com (November 2011)


'Inevitably‚ it is the more extrovert characters that make the greatest impact: Heather Shipp’s superbly batty Mad Margaret'

Ruddigore‚ Opera North at Barbican
Express (November 2011)


'...the great set piece in the Haunted Picture Gallery is wonderfully inventive. Every one of the principals is pitch perfect but special mention must be made of Steven Page‚ as the ghostly Sir Roderic‚ Grant Doyle and Richard Burkhard‚ as his two wicked nephews‚ and Heather Shipp‚ as a vocally and physically fearless Mad Margaret. An unmitigated triumph!'

Ruddigore‚ Opera North at Barbican
Observer on Sunday (November 2011)


'Mad Margaret – she for whom the word "Basingstoke" is balm – displays excessive hysterical tendencies‚ formidably enacted by the excellent Heather Shipp'

Ruddigore‚ Opera North at Barbican
Stage (November 2011)


'The cast is impeccable‚ giving due and equal value to Gilbert’s words and Sullivan’s notes. Heather Shipp’s blissfully unruly Mad Margaret is partially tamed by Richard Burkhard’s suavely supercilious Sir Despard Murgatroyd. Steven Page is a mellifluous military martinet as Sir Roderic Murgatroyd. Indeed it is rare to see a production in which every member of the cast meets the highest standards and integrates so flawlessly into the overall dramatic momentum. Ruddigore used to be regarded as a poor relation amongst the Savoy canon‚ but here it comes over as a comic masterpiece'

Ruddigore‚ Opera North at Barbican
The Arts Desk.com (November 2011)


'...there’s a consummate moustachio-twirling turn from Richard Burkhard as Sir Despard Murgatroyd‚ and the Act II scene of his sober exchanges with the once jilted‚ now slightly less Mad Margaret (Heather Shipp) is a highlight'

Ruddigore‚ Opera North
Leeds Student.org (October 2011)


'Richard Burkhard and Heather Shipp are perfectly cast as the bad‚ bad baronet and the witchy Mad Margaret. But it’s how they transform into middle-class married respectability in Act II that impresses‚ faultless in their singing and choreography. A brilliant satirical take on criminality by the rich and moral hypocrisy‚ that with only a few extra lines becomes also a contemporary political satire: fiddling expenses‚ duck-houses‚ Greek debt‚ not even the Speaker’s wife escapes. How the audience laughed'

Ruddigore‚ Opera North
Opera Britannia.com (October 2011)


'Heather Shipp creates a beautifully studied and spidery portrayal of Mad Margaret‚ not really mad but just a smidgeon unhinged and slightly unsettling. We first encounter Margaret wheeling her worldly possessions in a pram before singing her dramatic and poignant "mad" scene "Cheerily carols the lark""'

La Wally‚ Opera Holland Park
MusicOMH.com (August 2011)


'Heather Shipp’s warm mezzo-soprano and worldly-wise demeanour made her a compelling Afra'

La Wally‚ Opera Holland Park
Times (August 2011)


'Heather Shipp sang lyrically as Wally’s rival in love'

La Wally‚ Opera Holland Park
Opera Britannia.com (July 2011)


'Heather Shipp made a sympathetic character out of Afra‚ barmaid and Wally’s rival for Hagenbach’s heart'

Mahler Symphony No 4‚ Berlioz: Les Nuits d’Eté- CD- Orchestra of the Swann
Classic FM Magazine (June 2011)


'with so many full-orchestral recordings of each work available‚ do we need to hear these reduced ones? Two good reasons are top-flight instrumental playing (you won’t hear much better anywhere)‚ and the spelllbinding vividness of Heather Shipp’s darkly gorgeous mezzo-soprano voice'

Two Boys‚ English National Opera
Financial Times (June 2011)


'Lucas’s taut‚ witty libretto has one masterstroke – a mythic‚ amoral creature named Fiona‚ who represents the seductive spirit of the net...Heather Shipp a smart‚ sexy Fiona'

Two Boys‚ English National Opera
The Arts Desk.com (June 2011)


'Heather Shipp and her glassy-tones were mesmerising in the service of the mysterious internet intercessor Fiona'

Boughton’s Queen of Cornwall‚ recroding on Dutton Epoch
Opera Magazine (March 2011)


'Heather Shipp is excellent as his admirer Iseult‚ a mezzo in this version of the tale‚ singing with firm and glowing tone‚'

Carmen‚ Opera North
Opera Magazine (March 2011)


'an unusual Carmen‚ not overtly flirtatious. She was a free spirit‚ but thoughtful‚ which made her air of mystery the more attractive'

Mahler Symphony No 4‚ Berlioz: Les Nuits d’Eté- CD- Orchestra of the Swann
Financial Times (March 2011)


'Just another Mahler Four? Far from it: this is the chamber version (no brass‚ bassoon or harp but with piano and harmonium) which Erwin Stein devised for cash-strapped Vienna after the First World War‚ when Mahler’s music was still “modern” and needing to be heard. Woodwind obbligatos and string glissandos bring out the symphony’s gypsy soul in this spirited performance under David Curtis‚ but the CD’s value lies just as much in the chance to hear the lovely Heather Shipp singing Berlioz’s Les Nuits d’Eté‚ in a chamber version by David Matthews. '

Mahler Symphony No 4‚ Berlioz: Les Nuits d’Eté- CD- Orchestra of the Swann
Glasgow Herald (March 2011)


'It’s not long since I reviewed a sensational new Mahler Four with Philippe Herreweghe and his Champs-Elysees Orchestra. Well‚ here’s another one‚ in a very different guise. This is the famous reduction of the symphony made in the early 1920s by Erwin Stein for Arnold Schoenberg’s Society for Private Musical Performances. It’s reduced for single strings and wind‚ piano‚ percussion and harmonium‚ as well as a mezzo for the sung finale. Sounds an oddball collection‚ but it works stunningly well‚ as exemplified in this enthralling live performance by David Curtis and his Orchestra Of The Swan‚ with mezzo Heather Shipp. The detail of Mahler’s already chamber-like orchestration gleams with a pure light‚ enhanced further by the coupling: David Matthews’s arrangement for small group of Berlioz’s Nuits d’ete. For Mahler addicts there is only one answer: get this one‚ get Herreweghe’s‚ stack them up beside your favourite full-fat version and indulge yourself‚ as I propose to do myself.

'

Mahler Symphony No 4‚ Berlioz: Les Nuits d’Eté- CD- Orchestra of the Swann
New Classics (March 2011)


'SOMM continues its collaboration with Orchestra of the Swan under its charismatic conductor‚ David Curtis‚ with a live recording made in 2009 during the orchestras first concert season as resident chamber orchestra at Birminghams Town Hall. The CD contains a rarely recorded chamber version of Mahlers Fourth Symphony‚ originally arranged for Chamber Ensemble by Arnold Schoenbergs pupil Erwin Stein and reconstructed here by conductor Alexander Platt. Stein was a Viennese editor who went on to become Benjamin Brittens publisher. His reduction of Mahlers fourth symphony to a piece for solo voice and 12 players is remarkably effective and performed here brilliantly by the orchestra with acclaimed mezzo soprano Heather Shipp‚ who received rave reviews for her vibrantly sexy interpretation of Bizets Carmen. This is Mahler all right but probably as you have never heard before. The CD also features a premiere recording of Berliozs Nuits dÉté‚ attractively arranged for voice and Chamber Ensemble by composer David Matthews. '

Carmen‚ Opera North
Financial Times (January 2011)


'Heather Shipp’s slim-and-sexy Carmen makes a powerful centrepiece...she gives the part her considerable all'

Carmen‚ Opera North
Independent on Sunday (January 2011)


'Breasts and teeth bared‚ nose bloodied‚ her light voice stripped and twisted into a mocking‚ cooing delivery‚ Heather Shipp’s Carmen shivers and buckles with masochistic joy'

Carmen‚ Opera North
Observer on Sunday (January 2011)


'Heather Shipp’s highly physical Carmen has dark allure'

Carmen‚ Opera North
Opera-Britannia.com (January 2011)


'Heather Shipp has created the most complete Carmen‚ certainly in my experience. Independent‚ as free as a bird and yet thoughtful and touchingly ordinary‚ a sort of girl next door Carmen. Shipp is of slim build‚ not particularly tall and could easily merge into the background but of course never does. The voice has an attractive timbre‚ light and flexible; but with ample power to cut across the orchestra'

Carmen‚ Opera North
The Arts Desk.com (January 2011)


'Heather Shipp’s vibrant Carmen...Shipp is a wonderful actress‚ completely in thrall to Kramer’s conception of the piece...The love scene in Act Two sounds marvellous'

Ruddigore‚ Opera North
Financial Times (February 2010)


'There is excellent support from Hal Cazalet‚ Heather Shipp and Richard Angas'

Ruddigore‚ Opera North
Guardian (February 2010)


'Jo Davies’ terrific new production for Opera North is strong on the work’s ambiguities...Heather Shipp’s Mad Margaret‚ wheeling the detritus of her life about in a pram‚ is the victim of a world only fractionally less crazed than she is. Wickedly funny yet unsettling‚ Shipp’s performance is typical of the evening as a whole'

Ruddigore‚ Opera North
Independent on Sunday (February 2010)


'...we have young voices‚ pertly clipped spoken dialogue‚ ensembles of madrigalian precision...and a series of sparkling star turns from Amy Freston (Rose Maybud)‚ Grant Doyle (Sir Ruthven Murgatroyd)‚ Richard Burkhard (Sir Despard Murgatroyd)‚ Heather Shipp (Mad Margaret)‚ Hal Cazalet (Richard Dauntless) and Steven Page (the late Sir Roderic Murgatroyd)'

Ruddigore‚ Opera North
Morning Star (February 2010)


'Like all Opera North productions this is a collective effort‚ but I was particularly struck by Heather Shipp’s appropriately manic Mad Margaret'

Ruddigore‚ Opera North
Opera (February 2010)


'Heather Shipp is truly ingenious as Mad Margaret‚ especially riveting in act two'

Ruddigore‚ Opera North
Opera-Britannia.com (February 2010)


'Mezzo-soprano Heather Shipp was a genuinely bizarre Mad Margaret…Ms Shipp possesses a rich and vibrant mezzo…heard to its best advantage in the slow section of her aria “To a garden full of posies” which was heartfelt and sung with a beautiful dark timbre'

Ruddigore‚ Opera North
Stage (February 2010)


'It’s a strong cast‚ too‚ from top to bottom... Heather Shipp’s crazed Mad Margaret eventually finds happiness and a sort of sanity'

Ruddigore‚ Opera North
Telegraph (February 2010)


'The cast is top-notch...Heather Shipp has great fun as a tragedy queen of a Mad Margaret'

Ruddigore‚ Opera North
York Press (February 2010)


'There are several finely drawn portraits...Heather Shipp is truly ingenious as Mad Margaret‚ especially riveting in act two'

Tom Jones‚ CD Naxos recording
Allmusic.com (November 2009)


'Among the leads‚ soprano Marianne Hellgren Staykov and mezzo-soprano Heather Shipp are especially engaging and vocally outstanding'

Tom Jones‚ CD Naxos recording
Classical Source (November 2009)


'As Sophia’s maid‚ Honour‚ Heather Shipp is especially beguiling in her flirtatious song ‘As all the maids’'

Tom Jones‚ CD Naxos recording
Infodad.com (November 2009)


'Heather Shipp as her maid‚ Honour‚ sounds delightful in The Green Ribbon'

Tom Jones‚ CD Naxos recording
Musicweb International (November 2009)


'Recording of the Month...Sophia’s maid is given as large a part as Sophia...Heather Shipp plays the role with the protective innocence that a servant might have for her mistress. In her two solo numbers‚ I found her very responsive to the situation‚ especially in a cheery rendering of ’The Green Ribbon’'

Tom Jones‚ CD Naxos recording
Musicweb International (November 2009)


'Recordings of the Year (Ian Lace)...soprano‚ Heather Shipp as Honour‚ Sophia’s maid‚ delights in the wry humour of this Act III song‚ ‘The Green Ribbon’'

Lulu‚ Teatro Real Madrid
ConcertoNet.com (October 2009)


'Paul Gay et Heather Shipp sont parfaits dans ses deux rôles antithétiques‚ L’Athlète (aussi le Dompteur) et Le Lycéen'

Lulu‚ Teatro Real Madrid
Seen & Heard International (October 2009)


'The British mezzo Heather Shipp also made a very good impression in her various roles'

Skin Deep‚ Opera North at Bregenz Festival
Times (August 2009)


'Janis Kelly as Lania and Heather Shipp as Donna are powerful sparring partners‚ singing some of Sawer’s most energetic rhythms with dramatic precision'

Lulu. The Royal Opera House
Financial Times (June 2009)


'Peter Rose’s Athlete‚ Will Hartmann’s Painter‚ Gwynne Howell’s Schigolch‚ Heather Shipp’s Schoolboy and Philip Langridge’s Prince are all excellent'

Of Thee I Sing‚ Opera North at Sadler’s Wells Theatre
MusicOHM.com (February 2009)


'...as Diana Devereaux‚ Heather Shipp’s singing was highly engaging'

Skin Deep‚ Opera North
Musical Criticism.com (February 2009)


'It has some strong performances amongst the principals‚ particularly the sturdily-voiced and grubbily-sinister Geoffrey Dolton as Needlemeier‚ and a quietly strong but ultimately pitiable Heather Shipp as Donna‚ the surgeon’s lover.'

Skin Deep‚ Opera North
Sunday Telegraph Magazine (February 2009)


'....the best performance came from Heather Shipp as his receptionist'

Skin Deep‚ Opera North
Financial Times (January 2009)


'...and there are excellent contributions from Janis Kelly and Heather Shipp'

Skin Deep‚ Opera North
Times (January 2009)


'And there are spirited performances from... Heather Shipp as his foxy mistress'

Of Thee I Sing‚ Opera North
Financial Times (October 2008)


'Heather Shipp turns the beauty queen into a delicious dragonette'

Of Thee I Sing‚ Opera North
Guardian (October 2008)


'Heather Shipp vamps to good effect as Miss Devereaux'

Of Thee I Sing‚ Opera North
Stage (October 2008)


'Strong performances from...Heather Shipp as the sexy Devereaux'

Of Thee I Sing‚ Opera North
Telegraph (October 2008)


'Heather Shipp vamps it up gamely as Diana Deveraux'

Of Thee I Sing‚ Opera North
Times (October 2008)


'Heather Shipp’s gloriously pouty Diana Devereaux'

Der Glorreiche Augenblick‚ Guildford Choral Society
Sunday Telegraph (March 2008)


'and the mezzo-soprano Heather Shipp was able to shine in her fourth-movement cavatina with chorus‚ the emotional heart of the work‚ '

Bliss Pastoral‚ St John’s Smith Square.
Sunday Telegraph (November 2007)


'Heather Shipp brought plenty of colour to her languid solo'

Der Ring‚ Covent Garden
Intermezzo (October 2007)


'Some of the finest singing of the night came in the form of the translucent and intense Waltraute of Mihoko Fujimura. Rhinemaidens Sarah Fox‚ Heather Shipp and Sarah Castle not only sang with exquisite beauty‚ but also bravely whipped their kit off for the surprisingly non-gratuitous finale'

Carmen‚ Ellen Kent International
Stage (September 2007)


'Shipp‚ a sensuous and petulant Carmen‚ has to compete with the usual Kent production appendages of a high-stepping black stallion horse‚ an authentic troupe of gypsy dancers and even on this occasion an Andalucian donkey (or at least one borrowed from a local animal sanctuary).

Her lyrical voice and sultry acting skills hold their own against all this theatrical showboating‚
'

Rigoletto‚ Opera Holland Park
Opera (October 2006)


'The quartet was completed by Heather Shipp’s sexy‚ warm-voiced Maddalena.'

Il Turco in Italia‚ Royal Opera House
Guardian (June 2005)


'Heather Shipp makes a feisty Zaida.'

Carmen‚ Diva Opera
Guernsey Press (June 2002)


'Heather Shipp brought to the role of Carmen vitality and magnetism that made an immediate impact. She took her many fine vocal opportunities with splendid voice‚ making the demanding part seem easy and natural.'

Albert Herring‚ Opera North
Metro (February 2002)


'A strong performance from Heather Shipp (Sid’s girlfriend)'

Albert Herring‚ Opera North
Observer (February 2002)


'His girl‚ Nancy (Heather Shipp) had edge and flair.'

Andrzej Panufnik ’Love Song and four other works’ London Musici (Recording)
Sunday Times (February 2002)


'Lusciously sung by Heather Shipp.'

Carmen‚ English Pocket Opera Company
Mid Ocean News (Bermuda) (February 2001)


'Sensuous‚ graceful and possessor of a lyric mezzo soprano voice of great beauty‚ she is also a consummate actress.'

Carmen‚ English Pocket Opera Company
Royal Gazette (Bermuda) (February 2001)


'Played by Heather Shipp‚ Carmen was sultry‚ sexy‚ bad tempered and hot-headed…You could feel the steam rise from the stage…sending tingles down your spine.'

The Music Programme‚ Opera Narodowa
Gazeta Wyborcza (April 2000)


'...undoubtedly deserving of the greatest praise among the seven-strong international cast is Heather Shipp in the role of Eleanor - she combines a beautiful mezzo-soprano voice with excellent technique and talented acting into a convincing and expressive whole.'