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  Mezzo Sopranos: Yvonne Howard - Reviews
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The Barber of Seville‚ English National Opera
Opera Magazine (December 2017)


'
As Berta‚ Yvonne Howard made the most of her moment in the limelight and rightly offered a more mature tone than Tynan.
'

The Barber of Seville‚ English National Opera
BachTrack.com (October 2017)


'Yvonne Howard in the minor role of Berta gave a feisty “Il vecchiotto cerca moglie” ...'

The Barber of Seville‚ English National Opera
Classical Source (October 2017)


'Yvonne Howard makes for an impressive Berta as she reflects upon the sad state of her spinsterhood as compared with the happily romantic future that awaits Rosina.'

The Barber of Seville‚ English National Opera
Planet Hugill (October 2017)


'Alastair Miles lubricious Don Basilio and Yvonne Howard’s charming Berta all added to a beguiling evenings entertainment.'

The Barber of Seville‚ English National Opera
The Independent (October 2017)


'Yvonne Howard makes for an impressive Berta as she reflects upon the sad state of her spinsterhood as compared with the happily romantic future that awaits Rosina.'

The Barber of Seville‚ English National Opera
What’s On Stage (October 2017)


'...and Yvonne Howard an irresistible Berta‚ this is casting from the top table.'

Albert Herring‚ Buxton Festival
Opera Magazine (September 2017)


'Yvonne Howard’s reassuring presence and powerful‚ no-nonsense tone made it quite clear that Lady Billows ruled the roost. '

Verdi Requiem‚ Opera Holland Park
Classical Source (August 2017)


'Yvonne Howard also gave a scorching performance‚ completely comfortable at the higher end of the register and beguiling in her range of timbres at the lower.'

Verdi Requiem‚ Opera Holland Park
Lark Reviews (August 2017)


'Yvonne Howard who has the clarety richness of an old fashioned contralto in the lower registers squeezed every drop of feeling out of those sexy chromatic shifts.'

Albert Herring‚ Buxton Festival
Manchester Theatre Awards (July 2017)


'Yvonne Howard as the tweedy grande dame and moral crusader‚ Lady Billows‚ was magnificent...'

Albert Herring‚ Buxton Festival
MarkRonan.com (July 2017)


'The whole cast did a terrific job: Yvonne Howard an imposing Lady Billows...'

Albert Herring‚ Buxton Festival
Planet Hugill (July 2017)


'Yvonne Howard’s Lady Billows was a beautifully observed character portrait‚ upright and severe with strong opinions. She was perhaps slightly less sharp-edged than in some productions‚ but no less fearsome‚ and it was the upright-ness and sense of disapproval at the change in the modern world which came over. Howard’s voice was softer edged‚ less inclined to cut through the orchestra and without the dominating whiplash of some incarnations of the role. Instead she gave us a beautifully sung account of the role‚ and one which really fleshed out the detail of her portrayal.'

Albert Herring‚ Buxton Festival
Seen and Heard International (July 2017)


'Its seems invidious to pick out names in a large cast‚ but there were some outstanding interpretations and characterful singing‚ not always easily achieved in the context of Britten’s orchestration. Veterans such as Yvonne Howard and Jeffrey Lloyd Roberts were formidable in their acting‚ and vocally as well. '

Albert Herring‚ Buxton Festival
The Guardian (July 2017)


'As Lady B‚ Yvonne Howard was a true uber-matron‚ with an irresistible repertoire of grimaces to boot; '

Albert Herring‚ Buxton Festival
The Spectator (July 2017)


'A photograph of Churchill watches over Yvonne Howard’s magnificent Lady Billows...'

Albert Herring‚ Buxton Festival
The Times (July 2017)


'An excellent cast including Bradley Smith as a likeable Herring‚ Jeffrey Lloyd-Roberts as the burbling mayor and Yvonne Howard as the spine-quaking Lady Billows prove quite capable of pointing up all the innuendos and subtexts.'

The Snow Maiden‚ Opera North
Opera Magazine (March 2017)


'Yvonne Howard’s grand-toned Spring Beauty and James Creswell’s kindly Father Frost got the evening off to a solid vocal start.'

Savitri‚ City of Birmingham Symphony Orchestra
Classical Source (February 2017)


'Howard was at her appreciable best; her singing had all the warm tone required in the critical lower registers and there was wonderful freedom and bite above the stave as well. Her colours on words like “cold” and “still” were particularly evocative.'

Savitri‚ City of Birmingham Symphony Orchestra
The Guardian (February 2017)


'Yvonne Howard... was Savitri‚ showing just enough steel and resolve beneath the emollient vocal surfaces to make her character more realistic than merely symbolic...'

Savitri‚ City of Birmingham Symphony Orchestra
The Reviews Hub (February 2017)


'In Savitri‚ the orchestra takes second place to the voices‚ appearing to offer musical punctuation as voices rise and soar during the exchanges...Howard’s mezzo-soprano is pure and fills the hall‚ full of Savitri’s love for Satyavan. '

The Snow Maiden‚ Opera North
Classical Source (February 2017)


'There is characterful support in the smaller roles‚ not least Yvonne Howard’s Spring Beauty and James Creswell’s Father Frost.'

The Snow Maiden‚ Opera North
Planet Hugill (February 2017)


'Yvonne Howard made a warm and appealing Spring Beauty (the Snow Maiden’s mother)‚ singing with flexible tone and a nice charm. The role is hardly a character‚ more of an idea or a concept‚ and allowed Howard to bring personality to bear.'

The Snow Maiden‚ Opera North
What’s On Stage (February 2017)


'Howard nevertheless gives a stellar performance as Snow Maiden’s mother‚ and her farewell song with female ensemble ranks high in the opera’s melodic glories.'

The Snow Maiden‚ Opera North
BachTrack.com (January 2017)


'…while Yvonne Howard warmed to her task as Spring Beauty‚ especially fine in her later scene as the elderly mother submits to her daughter’s pleas.'

The Snow Maiden‚ Opera North
The Observer (January 2017)


'Spring Beauty‚ touchingly sung by Yvonne Howard‚ wore a traditional sun headdress and green cloak...'

The Snow Maiden‚ Opera North
The Spectator (January 2017)


'Yvonne Howard’s compassionate‚ velvet-voiced spring goddess ennobled every scene in which she appeared.'

The Snow Maiden‚ Opera North
The York Press (January 2017)


'The longueurs of the prologue were alleviated by the Snow Maiden’s parents‚ Spring Beauty and Father Frost (the Russian equivalent of Santa)‚ played with gusto by Yvonne Howard and James Cresswell. Howard was also moving in her aged reappearance towards the close: she is always a reassuring presence on our stages.'

Das Rheingold & Die Walkure‚ Opera North
Critics Circle (July 2016)


'I liked Yvonne Howard’s cowed but proud and still hopeful Fricka...Yvonne Howard‚ her growing glee at her revenge on her husband very well done'

Das Rheingold‚ Opera North
Seen and Heard (July 2016)


'Wotan and his excellent wife‚ Fricka (the consistently vocally stunning Yvonne Howard) appeared in evening dress. Howard relished Fricka’s every line‚ and gave a lovely‚ nuanced account‚ wonderfully confident throughout. '

Die Walkure‚ Opera North
MusicOMH (July 2016)


'Yvonne Howard similarly repeated the magic she had brought to the role of Fricka the night before.'

Die Walkure‚ Opera North
Opera Today (July 2016)


'Yvonne Howard’s triumphant - though for how long? - Fricka was again pretty much everything it should have been. Her dialectical path to victory over her husband chilled as it must...'

Das Rheingold‚ Opera North
MusicOMH (June 2016)


'Yvonne Howard was an excellent Fricka‚ possessing a refined manner on the one hand and an expectancy and allure on the other that made it easy to see why Wotan had fallen over backwards to give her everything he could. '

Das Rheingold‚ Opera North
The Arts Desk (June 2016)


'Top of their respective games‚ too‚ and welcome in Wagner anywhere in the world were the undervalued Yvonne Howard’s poised‚ calculating Fricka'

Das Rheingold‚ Opera North
The Guardian (June 2016)


'Yvonne Howard was a noble Fricka'

Die Walküre‚ Opera North
The Arts Desk (June 2016)


'We were back to the crystal-clear dialectics of Das Rheingold with the return of Yvonne Howard’s adamantine Fricka‚ pointing out the law of marriage-customs in as gripping a husband-wife scene as I’ve ever experienced. '

Das Rheingold‚ Opera North
Ilkley Gazette (May 2016)


'The resplendent Yvonne Howard’s carefully layered characterisation of Wotan’s wife‚ Fricka‚ and Wolfgang Ablinger-Sperrhacke’s spidery portrayal of Loge likewise make triumphant returns.'

Das Rheingold‚ Opera North
The Times (May 2016)


'There is elegant support from Yvonne Howard (Fricka)'

Das Rheingold‚ Opera North
The York Press (May 2016)


' But it is Michael Druiett as Wotan‚ chief of the gods and resplendent in tailcoat‚ whose majestic‚ seamless bass-baritone provides the backbone to the voices‚ assisted by Yvonne Howard’s captivating Fricka‚ his wife.'

The Turn of the Screw‚ Northern Ireland Opera
Opera Magazine (May 2016)


'Yvonne Howard reprised her role as the housekeeper Mrs Grose‚ and her creeping fear and mounting alarm provided the production’s lynchpin in the evening’s most fully realized‚ nuanced performance. '

Das Rheingold‚ Opera North
The Telegraph (April 2016)


'Yvonne Howard captures Fricka’s steadfastness in her soft singing...'

The Mikado‚ English National Opera
BachTrack.com (November 2015)


'Yvonne Howard’s Katisha was suitably indomitable‚ dark-toned and relishing the comedy'

The Mikado‚ English National Opera
MusicOMH (November 2015)


'In their respective roles of Ko-Ko‚ Katisha and the Mikado Richard Suart‚ Yvonne Howard and Robert Lloyd gave exemplary performances that lifted the evening to an exalted level'

The Mikado‚ English National Opera
Opera Britannia (November 2015)


'Equaling his authority if not his physical stature was the superb Katisha of Yvonne Howard. Ms. Howard brought the perfect degree of supercilious hauteur to the role‚ with a voice to match. She gave us some of the finest singing of the evening‚ investing ‘Alone‚ and yet alive’ with dramatic Mozartian flair. She delighted most in her duet with Ko-Ko‚ when the Lord High Executioner must bid for her hand in order to save himself from execution. Mr. Suart’s ingratiating flirting with the sterner Ms. Howard was very funny‚ his melancholy refrain of ‘Willow‚ tit-willow’ moving and hilarious in equal measure'

The Mikado‚ English National Opera
Sunday Express (November 2015)


'Yvonne Howard here as a formidably glamorous “Daughter-in-law elect.” '

The Mikado‚ English National Opera
The Stage (November 2015)


'Yvonne Howard’s Katisha is sung with dignity and pathos as well as offering full comic value'

The Mikado‚ English National Opera
The Times (November 2015)


'Yvonne Howard’s beautifully sung Katisha makes that lonely spinster‚ so cruelly caricatured by Gilbert‚ far more sympathetic than normal'

The Mikado‚ English National Opera
What’sOnStage.com (November 2015)


'(Lloyd) ...he sings with a degree of articulation that renders the Coliseum’s surtitles superfluous. Lloyd’s closest rival in this respect is his daughter-in-law-elect‚ even though Yvonne Howard is way too glamorous to pass muster as the ghastly Katisha'

The Monster in The Maze‚ London Symphony Orchestra‚ Barbican
Classical Source.com (July 2015)


'Yvonne Howard sang his mother with elemental warmth and a nicely judged caricature of matriarchal authority'

The Monster in The Maze‚ London Symphony Orchestra‚ Barbican
Guardian (July 2015)


'Professionals Joshua Bloom‚ Andrew Rees and Yvonne Howard sang vividly as Daedalus‚ Theseus and his mother'

Carousel‚ Opera Northbr><%m>Cll Edinburgh Theatre.com (June 2015)

'Yvonne Howard is both personal and lively as Nettie Fowler‚ Julie’s helpful aunt. In fact‚ Howard’s performance of You’ll Never Walk Alone is exceptional'

Carousel‚ Opera North
BachTrack.com (May 2015)


'Yvonne Howard’s sumptuous voice and rather grand presence makes Nettie Fowler into an appropriately warm‚ matronly character...And so to the anthem‚ beloved by Liverpudlian football fans – those most operatic of people – “You’ll Never Walk Alone”. This was sung with intensely affecting‚ reined in passion by the masses on stage‚ who might have been worried about getting too carried away. The audience did not cry much‚ but it did stand to applaud'

Carousel‚ Opera North
Guardian (May 2015)


'Yvonne Howard‚ reprising her role as matriarchal Nettie‚ continues on her mission to reclaim You’ll Never Walk Alone from the terraces and restore it to the opera house'

Carousel‚ Opera North
Huddersfield Examiner (May 2015)


'Strong (and strongly sung) performances feature throughout the cast...Yvonne Howard’s thoroughly likeable Nettie makes the most of two of the show’s anthems'

Carousel‚ Opera North
ON-Magazine (May 2015)


'When Yvonne Howard‚ playing Nettie Fowler‚ sings ‘You’ll Never Walk Alone’‚ a song better-known as a football anthem‚ her voice brought out the beauty and pathos of the words‚ and I was not the only member of the audience surreptitiously wiping an eye'

Carousel‚ Opera North
Opera Britannia (May 2015)


'Yvonne Howard‘s tough but tender Nettie Fowler is rock solid. Howard’s clear and steady rendition of “You’ll never walk alone” will dissolve hearts of stone'

Carousel‚ Opera North
Telegraph (May 2015)


'Davies’s production is full of moments of grace...the triumphant rescue of You’ll Never Walk Alone from the Liverpool FC terraces in a soul-soaring performance by Yvonne Howard who plays Nettie Fowler'

Carousel‚ Opera North
The Stage (May 2015)


'Throughout‚ the ensemble’s vocal performance is outstanding but never better than Yvonne Howard’s beatific rendition of You’ll Never Walk Alone'

Carousel‚ Opera North
The Times (May 2015)


'By the time Yvonne Howard sang Netty’s anthem You’ll Never Walk Alone with as much care‚ beauty and gravitas as if it were Schubert or Bellini‚ I was a wreck. I still am'

Norma‚ Opera Holland Park
Opera (September 2014)


'Yvonne Howard certainly sustained the success she had as ETO’s Norma in 2009‚ Her soprano now has a luminous strength and suppleness ideal for bel canto‚ on the back of innate musicality‚ exceptional breath control and full lower register‚ aspects all revealed in her serene ’Casta diva’...she was entirely convincing on Norma’s matricidal dithering and thrilling emotional build-up in the Act 2 finale...she carried the evening with her restrained‚ unhistrionic nobility and outstandingly accomplished singing'

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


'This was a deeply felt and stunningly articulated performance‚ using bel canto for the dramatic purposes to which it was intended. This started from her very first entry‚ with Casta Diva having a strongly dramatic and desperate edge‚ rather than being simply lovely. When the drama got going‚ with the duet with Adalgisa (Heather Ship) and trio with Adalgisa and Pollione (Joseph Wolverton) in the final scene of act one‚ then Howard showed herself fervently dramatic. The amazing recitative at the start of act two‚ when Norma contemplates killing her children was gripping and heart wrenching. Howard is a strongly mesmerising performer‚ and you could sense her using the music for the drama‚ continuing into the wonderful final sequence where Norma offers herself as sacrifice'

Vert-Vert‚ Garsington Opera
Opera (August 2014)


'Is there a more versatile singer today than Yvonne Howard? She ranges from Fidelio and Marilyn Klinghoffer to a perfectly controlled comedy performance here as the headmistress...'

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


'(Yvonne) Howard’s voice certainly had the required power and stamina. Helped by a striking flowing green costume‚ she was an imposing presence on stage and acted convincingly the part of the priestess who is a powerful clan leader externally but a soft (if occasionally homicidal) mother underneath. Howard’s phrasing did full justice to Bellini’s flowing lines'

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


'While the most famous part of the score is Norma’s ‘Casta diva’‚ which comes earlier in the first Act‚ 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...Without giving too much away‚ the climax is powerfully handled‚ with Howard playing her character’s distraught situation extremely well‚ depicting Norma’s predicament and ultimate decision'

Norma‚ Opera Holland Park
Guardian (July 2014)


'...In particular‚ Yvonne Howard’s interpretation of the title role possesses real musical and dramatic authority; she takes on its huge challenges one by one and conquers them all'

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


'Why is this glorious bel canto opera not performed more often? The reason is surely that one needs a terrific Norma‚ and Opera Holland Park produced one. 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. we have heard a wonderful Casta Diva from Ms Howard‚ who coped superbly with the vocal difficulties of those long notes of sustained pitch and varying amplitude. Wonderful...what really counted were the wonderful performances of Heather Shipp as Adalgisa and Yvonne Howard as Norma‚ whose magnificent costume and stage presence emphasised the sacred power she embodies. A vocally riveting 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. Tension and release are employed both musically and dramatically so that after the highly charged moment in which Norma releases Adalgisa from her vows‚ Howard seems to throw in the question of who her lover is as an attempt to lighten the mood following a difficult encounter. Howard’s voice is rich and vibrant with some thrilling hues in the lower register‚ and an exceptional clarity in the upper. Such a combination enables her to pull off a vast range of effects including screaming in total despair‚ and uttering with heart-wrenching sensitivity ‘I’m guilty’ (the performance is in Italian). 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
Sunday Express (July 2014)


'Bellini’s Norma is a rarely performed Italian “bel canto” opera‚ mainly because few sopranos can meet the demands of the title role. With Yvonne Howard‚ Opera Holland Park has found a Norma who has the voice and presence to hold us enthralled in Bellini’s showpiece aria “Casta Diva”'

Norma‚ Opera Holland Park
Telegraph (July 2014)


'But this opera stands or falls by its Norma. Here it stands. Yvonne Howard‚ handsome of presence and firm of tone‚ maintains admirable‚ unfazed aplomb. Perhaps she commanded neither the ideal seraphic beauty of tone for “Casta diva” nor the spitting venom for the first-act finale‚ but she sings throughout with intelligent‚ sensitive musicality and rises to the opera’s noble climax radiant with dignity and grace'

Norma‚ Opera Holland Park
The Oxford Times (July 2014)


'Bellini’s Druidical drama Norma is given far less often on the operatic stages of the world than the musical riches of its score would suggest that it deserves. This arises in large part from the difficulty of finding singers up to the vocal challenges facing the soprano in the title role‚ every one of whom must bear comparison to Maria Callas‚ the great diva who made the part her own. From Yvonne Howard’s Act I entrance as the eponymous High Priestess‚ singing the opera’s most famous (and most difficult) aria‚ the glorious hymn to the Moon‚ Casta Diva‚ it is clear that Opera Holland Park has a singer — and actress — fully up to the mark. Twice heard in earlier OHP seasons as Fidelio’s Leonora‚ Howard possesses a voice of rich tone and pinpoint accuracy. That she holds back on delivery of the fioritura ornaments shows welcome restraint and wise judgment'

Norma‚ Opera Holland Park
The Spectator (July 2014)


'Yvonne Howard is entirely unfazed by the demands of Norma‚ which she sings with admirable refinement and rich tone'

Norma‚ Opera Holland Park
The Spectator (July 2014)


'Yvonne Howard is entirely unfazed by the demands of Norma‚ which she sings with admirable refinement and rich tone'

Norma‚ Opera Holland Park
The Stage (July 2014)


'Yvonne Howard brings depth and credibility to the notoriously taxing title role‚ winning more with a kaleidoscope of vocal emotion'

Norma‚ Opera Holland Park
The Times (July 2014)


'...Yvonne Howard’s scrupulously prepared performance of the title role. Casta diva‚ with its slow pulse‚ its delicate glissandi and the wild heat of its reiterated high As‚ is just the start of a bel canto marathon. Howard grows in authority and expressivity‚ delivering a scalding "Vanne‚ si: mi lascia‚ indegno" to Joseph Wolverton’s choked Pollione; an exquisite "Teneri‚ teneri figli" to her sleeping children; a triumphant "Si‚ fino all’ore estreme" with Heather Shipp’s volatile‚ shame-faced Adalgisa'

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


'Yvonne Howard is a sensational Norma. The taxing nature of the role cannot be exaggerated – it’s bel canto with bars of steel – yet Howard‚ one of our greatest dramatic sopranos‚ made light of its challenges. Masked sporadically by poor ensemble disposition during the immortal ‘Casta diva’…in the duet ‘In mia man alfin tu sei’‚ Howard always emerged with dignity unscathed'

Vert-Vert‚ Garsington Opera
BachTrack.com (June 2014)


'Yvonne Howard was in fine voice and gloriously redoubtable as the matronly Mademoiselle Paturelle'

Vert-Vert‚ Garsington Opera
Guardian (June 2014)


'...several individual performances come over well...Geoffrey Dolton and Yvonne Howard maximise the potential of the mature comic couple of Baladon and Mademoiselle Paturelle!'

Vert-Vert‚ Garsington Opera
London Evening Standard (June 2014)


'...a prim assistant headmistress (the excellent Yvonne Howard)'

Vert-Vert‚ Garsington Opera
Music OMH.com (June 2014)


'The acting from several cast members during the spoken dialogue is not so convincing‚ but this is certainly not an issue with Yvonne Howard as Mademoiselle Paturelle and Geoffrey Dolton as Baladon. Alongside her sumptuous voice‚ Howard assumes an effective love struck demeanour while Dolton‚ who is required to sing‚ act and dance‚ proves an excellent all-rounder'

Vert-Vert‚ Garsington Opera
MusicalCriticism.com (June 2014)


'Yvonne Howard was a confidently assertive deputy headmistress‚ her rich mezzo always a pleasure to listen to and her characterisation exactly what the part requires'

Vert-Vert‚ Garsington Opera
The Spectator (June 2014)


'The cast is excellent...Yvonne Howard is a brilliantly matronly assistant headmistress'

Vert-Vert‚ Garsington Opera
What’s On Stage.com (June 2014)


'Yvonne Howard is splendid as the starchy-but-passionate deputy headmistress Mademoiselle Paturelle‚ using the formidable chest-voice that’s brought her such success in Wagner to great comic effect and provoking gales of laughter in the innuendo-filled patter-duet with her secret husband‚ the dancing-master Baladin'

Caligula‚ Teatro Colón
ConcertoNet.com (May 2014)


'Soprano Yvonne Howard portrayed an empathetic suffering wife delightfully. Dramatically‚ Caesonia was more a comforting mother figure than a spouse. Towards the end of the opera‚ she is convinced to let her husband kill her as a proof of her love. She impressed in the few passages that displayed a melodic line‚ making one regret she did not have more to sing'

Caligula‚ Teatro Colón
Mundo Classico.com (April 2014)


'Yvonne Howard fue una lírica y compenetrada Cesonia /// Yvonne Howard was a lyrical Caesonia'

Caligula‚ Teatro Colón
Opera Club‚ Buenos Aires (April 2014)


'Yvonne Howard was responsible for the difficult role of Caesonia ‚ wife of the emperor. She showed all facets of the role‚ troubled ‚ knowing the victim of adultery ‚ still with her husband ‚ loving to the end and decided to go along and the world‚ a singer and actor awesome'

Caligula‚ Teatro Colón
Seen & Heard International (April 2014)


'Peter Coleman-Wright gave a masterly performance as Caligula‚ effectively conveying the perversity and absurdity of the character. Yvonne Howard was similarly effective as Caesonia‚ particularly her distracted approach to Caligula’s goings on in the first half'

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


'Any production of Norma stands or falls with the soprano performing the title role and Opera Holland Park have clearly found a superb advocate in Yvonne Howard. She has sung a number of vocally demanding roles including Sieglinde and she did a superb job handling the opera’s considerable vocal challenges. She also did an excellent job transforming herself into character of Norma and in her heightened and fluctuating emotional states: in the beginning she wants to soothe her people and appease the occupying forces but when she finds out that the Army Commander no longer loves her and has shifted his affections to Adalgisa she becomes a cauldron of jealousy and anger before making the ultimate act of sacrifice at the end. Casta Diva had a gorgeous soft grained tonal beauty and the emotional climax to the aria really got under the skin and was deeply affecting. Given the non-stop succession of vocal hurdles‚ Howard was not completely at ease with some elements of the score e.g. the coloratura in the second aria but the high notes were thrilling and the quality of the singing was uniformly strong throughout...a thoroughly enjoyable and highly imaginative production – much more daring and interesting than some of the rather safe productions which have been emerging from other UK top opera venues – and bravo to Yvonne Howard'

A Midsummer Night’s Dream‚ Opera North
Seen & Heard International (November 2013)


'On the singing and orchestral front everything was excellent... In the cameo roles of Hippolyta‚ and the Duke of Athens Yvonne Howard and Dean Robinson were class voices'

Peter Grimes‚ Opera North
Seen & Heard International (November 2013)


'Notable vocal and acted contributions came from Yvonne Howard as Auntie...'

Peter Grimes‚ Opera North
The Times (September 2013)


'Phyllida) Lloyd seems to have delved still further into the relationships‚ particularly between the women. Grimes’s brutal punch‚ felling Giselle Allen’s grippingly conflicted Ellen like an axe‚ now also seems to unleash the barely suppressed anger in Yvonne Howard’s hardbitten Auntie'

Peter Grimes‚ Opera North
What’s on Stage.com (September 2013)


'Yvonne Howard‚ another veteran of 2006‚ contributes a beautifully sung Auntie‚ the landlady of The Boar‚ just about in control of her over-active "nieces"'

Hänsel und Gretel‚ Garsington Opera
Musical Criticism.com (July 2013)


'The singing cast provided a strong‚ well-matched ensemble...As father and mother‚ William Dazeley and Yvonne Howard were well-matched‚ both with the answer to life’s problems in the form of plenty of cheap booze to hand‚ both with the requisite tendency to abuse their children. Howard was incisive but never shrill'

Hänsel und Gretel‚ Garsington Opera
BachTrack.com (June 2013)


'Yvonne Howard‚ no stranger to the role (she has played the part several times at the Royal Opera House) strikes a heartbreaking note as the strict mother‚ clearly at her wit’s end from poverty and exhaustion'

Hänsel und Gretel‚ Garsington Opera
Brian Dickie.com (June 2013)


'...a superlative trio of adults in Susan Bickley‚ Yvonne Howard and William Dazely'

Hänsel und Gretel‚ Garsington Opera
Classical Source.com (June 2013)


'The parents (William Dazely and Yvonne Howard) were both well sung'

Hänsel und Gretel‚ Garsington Opera
Daily Info.co.uk (June 2013)


'Mum and Dad are a deliciously inappropriate hoot'

Hänsel und Gretel‚ Garsington Opera
Entartetemusik (June 2013)


'Howard and William Dazeley offer textured performances as the children’s parents. Natural physical comedy and touching introspection flesh out these potential caricatures'

Hänsel und Gretel‚ Garsington Opera
Guardian (June 2013)


'The feckless parents – each with a bottle almost perpetually in hand – are strikingly realised by Yvonne Howard and William Dazeley'

Hänsel und Gretel‚ Garsington Opera
Independent (June 2013)


'Yvonne Howard invests the role of the Mother with Wagnerian grandeur'

Hänsel und Gretel‚ Garsington Opera
MusicOMH.com (June 2013)


'They were supported by an exceptional cast‚ finely characterized by this imaginative and sensitive director; I cannot imagine William Dazeley’s drunken‚ loutish yet pitiable father‚ Yvonne Howard’s put-upon yet still lovable mother and Susan Bickley’s gloriously over-the-top Witch being bettered'

Hänsel und Gretel‚ Garsington Opera
Opera Today (June 2013)


'...in Yvonne Howard and William Dazeley we had a mother and father who combined musicality with a dramatically edgy relationship'

Hänsel und Gretel‚ Garsington Opera
Sunday Express (June 2013)


'Yvonne Howard brings out the blend of sweet and sour in the harassed mother'

Hänsel und Gretel‚ Garsington Opera
The Times (June 2013)


'...it’s musically excellent...Yvonne Howard and William Dazeley give full throttle to their monstrous incarnations as Mother and Father'

Verdi Requiem‚ Lichfield Cathedral
Tamworth herald (April 2013)


'...the soloists: soprano Yvonne Howard‚ mezzo Susan Bickley‚ tenor Barry Banks and bass-baritone Darren Jeffery. Howard and Banks are themselves Staffordshire natives‚ but each of these singers has a truly global reputation; and you could hear why. It can’t have been easy for the conductor‚ Nigel M Taylor to assemble a line-up of this calibre. But it paid off tremendously‚ as every performer present audibly raised their game‚ launching themselves at Verdi’s grandly operatic climaxes with quite irresistible gusto and passion'

The Mikado‚ English National Opera
Opera (February 2013)


'Howard refused to resort to caricature‚ has a nice line in overweening pride‚ and camped it up rotten in pursuit of Suart’s Ko-Ko. But that introspective second-act aria was done with intense dignity and lingers in the memory long after its final notes have died away...An outstanding revival of a great show'

The Mikado‚ English National Opera
Classical Source.com (December 2012)


'Yvonne Howard as the "mostly" ugly Katisha was a perfect mix of glamour and haughtiness that dovetailed well with Angas’s ‘humane’ Mikado'

The Mikado‚ English National Opera
Exeunt Magazine.com (December 2012)


'This production has always suffered from not giving the character of Katisha enough space to reveal the real pathos beneath her haggish exterior‚ with ‘The hour of gladness’ played for laughs. But‚ given these limits‚ Yvonne Howard captures the part well...'

The Mikado‚ English National Opera
Guardian (December 2012)


'...Yvonne Howard’s grand Katisha steers a carefully charted course between mezzo man-eater and woman scorned‚ revealing the sympathy in Sullivan’s music that Gilbert’s mockery largely denies her'

The Mikado‚ English National Opera
Mark Ronan (December 2012)


'This vintage production continues to sparkle with bounce and fizz...the super performance of Yvonne Howard as Katisha...Yvonne Howard sang beautifully in her solo'

The Mikado‚ English National Opera
Musical Criticism.com (December 2012)


'Mezzo-soprano Yvonne Howard (Katisha) sings and acts to perfection but she is in no way inferior as the role may demand. Jonathan Miller copies the Groucho Marx - Margaret Dumont relationship from the Marx Brothers but Yvonne Howard looks stunning on stage. So when she mentions her (that is Katisha’s) ugly face‚ one needs to dismiss what one sees...This is an operatic cast to die for. Not to be missed for opera lovers'

The Mikado‚ English National Opera
Opera Britannia.com (December 2012)


'Yvonne Howard’s voice is still pure and lyrical‚ as evidenced in “Alone and yet alive.” She really got into the spirit of the production as a formidable Katisha‚ very much in the Margaret Dumont mould as foil to Ko-Ko’s Groucho'

The Mikado‚ English National Opera
Seen & Heard International (December 2012)


'The cast was expertly chosen‚ each member fitting their part like a glove...Top of the laughs was Katisha‚ sung (and acted with full abandon) by mezzo Yvonne Howard. She sang Sieglinde in the recent Hallé Walküre (on the Hallé’s own label) which should give you some idea of her expressive capabilities. Applied to comedy‚ the results are nothing short of magnificent‚ not to mention intimidating (“Bow‚ bow to his daughter-in-law elect” was simply fabulous‚ a real tribute to the phenomenon of the galleon-like English contralto). In addition there was something imposing‚ touching and yet vaguely preposterous about her “Hearts do not break” aria in the second act. This was very nearly a show-stealing performance. In short‚ everything about this Mikado breathes style. ENO at its very best. Go and see it'

The Mikado‚ English National Opera
Spear’s wms.com (December 2012)


'Veteran performers Yvonne Howard and Richard Angas (in a terrible fat suit) gave us masterful performances as Katisha and the Mikado...'

The Mikado‚ English National Opera
The Independent (December 2012)


'...her taming of Suart’s definitive Ko-Ko is superbly malign'

The Mikado‚ English National Opera
The Stage (December 2012)


'Jonathan Miller’s resolutely non-Japanese flapper-era production of The Mikado is now 25 years old‚ but feels as fresh and sparkling as ever - and the current English National Opera cast is one of its strongest ever...Yvonne Howard excels as the hideous Katisha - funny but also sympathetic‚ and ravishingly sung'

The Mikado‚ English National Opera
Whats on stage.com (December 2012)


'There’s one performance that elevates this revival from the workaday to the sublime‚ and that’s Yvonne Howard’s perfectly-poised assumption of the role of Katisha. Although more soprano than mezzo she has the role’s low-lying notes well within her grasp‚ and commands attention whenever she’s on the stage. She manages to make the character sympathetic‚ funny and grotesque all at the same time‚ which is no mean feat and she sings gloriously'

Die Walküre‚ Hallé Orchestra CD
Opera (September 2012)


'DISC OF THE MONTH: Yvonne Howard’s Sieglinde is vocally supple. She starts gently‚ and one fears that the right level of vocal depth and brilliance will be beyond her‚ but she discovers unexpected reserves where needed'

The Turn of the Screw‚ Northern Ireland Opera (at Buxton Festival)
Opera (September 2012)


'Yvonne Howard is an ideal Mrs Grose...'

Carousel‚ Opera North at Barbican
Classical Music.com (August 2012)


'The song (’You’ll never walk alone’) is well-served by Yvonne Howard as Nettie who never slides into sentimentality but sings it as an anthem of love and hope'

Carousel‚ Opera North at Barbican
Guardian (August 2012)


'Yvonne Howard rescues that overblown anthem‚ You’ll Never Walk Alone‚ from its churchy and footballing associations'

Carousel‚ Opera North at Barbican
Londonist (August 2012)


'...it is two of the highest profile operatic names who steal the show. Sarah Tynan as Julie’s best friend Carrie has a pleasing voice and comic touch‚ while Yvonne Howard carries a strong homely presence as cousin Nettie'

Carousel‚ Opera North at Barbican
Telegraph - Seven Magazine (August 2012)


'It is a treat to hear Carousel neither over-amplified nor sung in voice-lacerating‚ musical theatre “belt”. Yet even the more experienced opera singers here (such as Yvonne Howard‚ a warm Nettie Fowler) never sound “operatic”'

Carousel‚ Opera North at Barbican
The Public Reviews.com (August 2012)


'There’s also strong work from Michael Rouse’s roguish Jigger Craigin‚ John Woodvine’s movie director Starkeeper and Yvonne Howard’s Nettie Fowler‚ whose soaring preview of the final anthem sends shivers down the spine...'

The Turn of the Screw‚ Northern Ireland Opera (at Buxton Festival)
Bachtrack.com (July 2012)


'Yvonne Howard‚ an experienced interpreter of Britten‚ presented just the sort of Mrs Grose that one could hope to encounter – clear‚ warm-hearted and steadfast in her duty and loyalty to the Governess‚ and yet convincing in her terror when recollecting Quint’s evil'

Caligula‚ English National Opera
Bloomberg.com (June 2012)


'He (Peter Coleman-Wright) sings with total theatrical commitment. So do Yvonne Howard as empress-consort Caesonia‚ Carolyn Dobbin as the poet Scipio‚ and countertenor Christopher Ainslie as the henchman- slave Helicon'

Caligula‚ English National Opera
Classically Inclined (June 2012)


'I can’t finish without adding a comment on the performance of Yvonne Howard as Caligula’s wife‚ Caesonia. She was superb‚ not least because she managed a surprisingly convincing portrait of a wife who sticks with her husband despite all the dreadful things he does (including her knowledge of his love for his dead sister Drusilla‚ whose naked body provided a continual and startling silent presence on the stage throughout the piece). Her death scene‚ suffocation at Caligula’s hands‚ was disturbingly consensual and erotic‚ providing a surprisingly quiet and drawn out episode before the swift chaos of Caligula’s murder. I think it is her performance‚ especially as she sat smoking a cigarette and drinking a glass of wine in apparent obliviousness of her husband’s dreadful behaviour‚ that is going to stay with me the most'

Caligula‚ English National Opera
Telegraph Seven Magazine (June 2012)


'He draws strong performances from the entire cast...and Yvonne Howard is compelling as Caesonia‚ the tyrant’s masochistic wife'

Caligula‚ English National Opera
Times (June 2012)


'And there are moments of lyric vision — notably the trio for Scipio (Carolyn Dobbin)‚ Caligula and his wife‚ Caesonia‚ a role beautifully sung by Yvonne Howard'

Caligula‚ English National Opera
Wall Street Journal (June 2012)


'...there are top-notch performances from Yvonne Howard as Caligula’s wife (who allows him to murder her in a disturbingly sexy fashion)'

Caligula‚ English National Opera
Bachtrack.com (May 2012)


'The dinner scene was a fantastic climax‚ featuring a delicious trio between Caligula‚ his wife Caesonia (Yvonne Howard) and poet Scipio (Carolyne Dobbin) supported delicately by vibraphone and strings. The music is tortured‚ reflecting all three characters’ unhappiness...Yvonne Howard as Caesonia presented this thoroughly complex character with aplomb; her voice is capable of both power and delicacy‚ both of which are well exploited in her rich and satisfying part. Inexplicably devoted to her husband‚ she eventually allows him to strangle her to death'

Caligula‚ English National Opera
Classical Source.com (May 2012)


'The singers were unstinting in their words (good translation) and acting…Yvonne Howard is indefatigable as the faithful wife'

Caligula‚ English National Opera
Evening Standard (May 2012)


'Yvonne Howard cuts a superbly statuesque figure as his wife‚ Caesonia‚ with suitably regal tone to match'

Caligula‚ English National Opera
Evening Standard (May 2012)


'Yvonne Howard cuts a superbly statuesque figure as his wife‚ Caesonia‚ with suitably regal tone to match'

Caligula‚ English National Opera
Limelight (May 2012)


'Particular highlights for me were Yvonne Howard’s resplendent Caesonia‚ whose smiling detachment from her husband’s behaviour was almost more disturbing than the evil acts themselves'

Caligula‚ English National Opera
Londonist.com (May 2012)


'Yvonne Howard makes a strong and loyal Caesonia'

Caligula‚ English National Opera
Musical Pointers.com (May 2012)


'Of the fine cast I would mention particularly Yvonne Howard as Caligula’s wife‚ loving unto death'

Caligula‚ English National Opera
MusicalCriticism.com (May 2012)


'I did enjoy Yvonne Howard’s Caesonia‚ particularly in her stunningly intimate and distressing death scene'

Caligula‚ English National Opera
Opera Britannia.com (May 2012)


'The two figures of the senate closest to Caligula are Helicon and Caesonia. The role of the latter received a deeply committed performance from soprano Yvonne Howard. Caesonia enjoys some of the most beautiful music in the opera‚ constantly acting as a soothing balm to her husband’s volatile character. Her full-bloodied tone but well-controlled vibrato and wonderfully projected voice served her well‚ and contrasted nicely with the purer voice of counter-tenor Christopher Ainslie'

Caligula‚ English National Opera
Stage (May 2012)


'The cast excels‚ too‚ in the huge demands placed upon them - notably Pavlo Hunka as the politician Cherea‚ Yvonne Howard as Caligula’s grandly conspiratorial wife Caesonia‚ and Christopher Ainslie in his immaculately sung performance of Caligula’s slave‚ Helicon...Taken as a whole‚ the result is clearly one of the operatic events of the year'

Caligula‚ English National Opera
Telegraph (May 2012)


'The performance is first-class‚ with Yvonne Howard particularly arresting as Caligula’s wife'

Caligula‚ English National Opera
The Australian (May 2012)


'Caligula kills his wife‚ Caesonia (sung by the splendid British mezzo‚ Yvonne Howard)'

Caligula‚ English National Opera
The Public Reviews.com (May 2012)


'Coleman-Wright plays the part of Caligula with a huge amount of energy and passion‚ leaving everyone‚ other than Howard‚ behind...Yvonne Howard’s portrayal of the doting and forgiving wife is equally as strong. Her dedication to her husband is almost sinister and by the end I was left wondering who I disliked more. Was there an element of Lady Macbeth in her or did her love for Caligula cloud her judgement'

Caligula‚ English National Opera
Times (May 2012)


'Yvonne Howard...seizes her lyrical moments'

Caligula‚ English National Opera
Whats On Stage.com (May 2012)


'As for Yvonne Howard as the Emperor’s loyal but doomed wife Caesonia‚ whenever she appears her regal presence illuminates the nightmare world'

Die Walküre‚ Hallé Orchestra CD recording
Times (May 2012)


'Recorded live in Manchester last year‚ the Hallé Orchestra’s concert performance of Die Walküre is a magnificent achievement‚ thrillingly played and gloriously sung — with a cast led by Stig Andersen’s ardent Siegmund‚ Yvonne Howard’s fierce yet warm-toned Sieglinde'

The Turn of the Screw‚ Northern Ireland Opera
Opera (May 2012)


'Yvonne Howard made an emotional Mrs Grose...a vocal roster with no weak links‚ and a collective strength aplenty'

The Turn of the Screw‚ Northern Ireland Opera
Guardian (March 2012)


'Yvonne Howard’s Mrs Grose‚ with cast-iron perm‚ surgical stockings and Dame Edna specs‚ is superbly done'

The Turn of the Screw‚ Northern Ireland Opera
Telegraph (March 2012)


'Yvonne Howard’s exemplary Mrs Grose'

Das Rheingold‚ Opera North at The Lowry Theatre
Lietofinelondon (September 2011)


'The goddesses were led by the incredibly talented Yvonne Howard‚ a soprano of great experience Her warm soprano‚ finely balanced and coupled with her ability for nuance and colouring that is so often missing in today’s singers‚ created a Fricka of both subtlety and grace – a multi-dimensional wife and sister from the start‚ rather than the more normally expected ‘single-sided’ goddess. Here was a woman still in love with her husband but more than a little knowledge of his misdemeanours. Never before have I seen such an expression of fear on the face of Fricka when Erda makes her appearance. For Ms Howard the fear was so much born from Mother Earth’s appearance as from the sure knowledge that her husband’s desire to know more would result in infidelity'

Das Rheingold‚ Opera North
Opera (August 2011)


'...nicely contrasted with Yvonne Howard‚ his elegant solicitous Frika'

Die Walküre‚ Hallé Orchestra
Arts Desk.com (July 2011)


'As Act 1 progressed‚ building up to the realisation of Siegmund and Sieglinde that they are not only brother and sister‚ but also in love‚ Andersen’s soaring tenor was spellbinding. Howard more than held her own‚ modulating beautifully. You wouldn’t think she was a mezzo. And she showed heart-fluttering emotion'

Die Walküre‚ Hallé Orchestra
Bachtrack.com (July 2011)


'Yvonne Howard was obliged to take on the role of Sieglinde at the last moment. Score in hands‚ she copes wonderfully‚ conveying the wild ecstasy of the incestuous love for her brother Siegmund‚ and her misery later on in the opera‚ with a refined intensity‚ all of which emphasises her great versatility‚ because she is currently ruling with top notch elegance as Fricka in Opera North’s Das Rheingold'

Die Walküre‚ Hallé Orchestra
City Life.com (July 2011)


'Yvonne Howard‚ as Sieglinde‚ was his worthy partner‚ singing with creamy beauty and passionate ecstasy'

Die Walküre‚ Hallé Orchestra
Independent (July 2011)


'...the duet with Siegmund (Stig Andersen) and Sieglinde (Yvonne Howard) had a tenderness beyond renegade intoxication'

Die Walküre‚ Hallé Orchestra
Independent (July 2011)


'Yvonne Howard was a touching Sieglinde'

Die Walküre‚ Hallé Orchestra
This in Lancashire (July 2011)


'...the radiant Sieglinde of Yvonne Howard'

Die Walküre‚ Hallé Orchestra
Times (July 2011)


'Stig Andersen has the part of Siegmund even more deeply under his skin: with every word weighed and beautifully measured‚ he met a Sieglinde of fierce radiance in Yvonne Howard'

Die Walküre‚ Hallé Orchestra
Unpredictable Inevitability.com (July 2011)


'Yvonne Howard’s Sieglinde grew remarkably in stature and confidence‚ inhabiting the role more with each passing phrase'

Belisario‚ Chelsea Opera Group
Robert Hugill‚ Planet Hugill (June 2011)


'His duet with Yvonne Howard‚ in Part 2‚ was one of the high points of the opera. Irene only gets a single aria‚ but her character seems to spend a lot of time on stage reacting to others; in some ways she is the most developed character in the piece. Yvonne Howard sang the role admirably‚ capturing the element of melancholy sadness.'

Das Rheingold‚ Opera North
Guardian (June 2011)


'Yvonne Howard is the classy‚ very manipulative Fricka'

Das Rheingold‚ Opera North
Opera Britannia.com (June 2011)


'The invaluable and versatile mezzo Yvonne Howard is a sumptuous-toned Fricka who conveys tenderness‚ concern and anxiety. Howard’s dignified reproach of her husband "the shame you have brought upon us" and her impassioned plea for Freia were beautifully judged'

Das Rheingold‚ Opera North
Telegraph (June 2011)


'...casting was exceptionally canny. A team without weakness had been assembled...Yvonne Howard’s cool and elegant Fricka'

Das Rheingold‚ Opera North
The Arts Desk.com (June 2011)


'Yvonne Howard impresses as Fricka'

Das Rheingold‚ Opera North
Times (June 2011)


'...compelling performances...excellent accounts; Yvonne Howard’s anguished Fricka'

Das Rheingold‚ Opera North
Whats On Stage.com (June 2011)


'Yvonne Howard’s Fricka and Giselle Allen’s Freia are both convincingly human and sung with affecting intensity'

Das Rheingold‚ Opera North
York Press (June 2011)


'A cast of uniformly high quality...nicely contrasted‚ with Yvonne Howard his elegant‚ solicitous Fricka'

Belisario‚ Chelsea Opera Group‚ QEH
Guardian (February 2011)


'Yvonne Howard’s Irene was grand‚ gracious and deeply touching in her scenes with her father'

Belisario‚ Chelsea Opera Group‚ QEH
Seen & Heard International (February 2011)


'Howard’s mezzo is controlled‚ refined and impassioned; the wide-range of her music never defeats her and she sings with a focused intensity from her first entry'

Hänsel und Gretel‚ Royal Opera House
Telegraph (January 2011)


'A word‚ too‚ in praise of Yvonne Howard‚ who sings rather than booms the small role of the mother‚ and makes her lament sound like something that’s wafted in from Parsifal'

Hänsel und Gretel‚ Royal Opera House
Guardian (December 2010)


'The performances onstage were much more convincing...Thomas Allen and Yvonne Howard accomplished hands as the parents'

Medée‚ Chelsea Opera Group
Classical Source (November 2010)


'Yvonne Howard was Médée. She is a mezzo with a good range and brought out the venom in the character‚ blazing forth on high and bringing strength to lower passages as she railed against Jason. She painted the picture of the vengeful woman without exaggerating. I can imagine that Howard enjoyed this role‚ just as her singing of it was appreciated by the audience.'

Medée‚ Chelsea Opera Group
Music and Vision (November 2010)


'It says much for Yvonne Howard’s stunning performance in the title role that she managed to create such a dramatic impression in this truncated form of the opera -- especially as we were deprived of her crucial opening speech (which precedes her first aria). Howard is a mezzo-soprano who has been moving towards soprano roles. She sang Norma for English Touring Opera and Fidelio for Opera Holland Park. Hers was a thrilling‚ high octane reading of the role‚ but one which did not neglect the character’s quieter side‚ nor the classical beauty of Cherubini’s score. Howard never let you forget that‚ even when quietly weeping‚ Medée was creating a calculated effect.
'

Medée‚ Chelsea Opera Group
Opera Britannia (November 2010)


'The overarching sense of drama that prevails is supplied above all else by Cherubini’s elegant score and sophisticated vocal colouring‚ rendered especially eloquently in the numerous shadings of the eponymous role. Medea is a part capable of reaching incredible intensity given the right exponent‚ and Yvonne Howard bore this out suitably. Her richly-timbred mezzo-soprano was indisputably the highlight of the evening‚ expansive‚ full-blooded‚ and a force to be reckoned with during the role’s more strenuous passages. Her best efforts at inspiring Jason to pity were movingly phrased in Dei tuoi figli la madre‚ though her Medea was never less than chilling‚ and it was the character’s violence that she captured most fully. Though the uppermost limits of the role were at times slightly stretched given Ms. Howard’s natural mezzo‚ her voice is supported by a strong firmness of tone‚ allowing her high notes more often than not to cut above the orchestra with accuracy and brilliance. Working through the myriad emotions of the part‚ from Medea’s lament for sympathy to her venomous Nemici senza cor‚ she fully evoked the drama inherent in Cherubini’s ornate vocal writing. In the aforementioned duet‚ her rage was tantamount‚ anguish tempestuously given voice above her Jason’s weaker counterpoint...Chelsea Opera Group managed to provide an enjoyable evening‚ successful primarily for the strengths of its female soloists. Yvonne Howard in particular cut a strong presence as Medea‚ her deft handling of the famously difficult title role alone making the evening worthwhile'

Medée‚ Chelsea Opera Group
Planet Hugill (November 2010)


'It is disappointing that no opera companies seem to be planning a full staging of this opera. The last time we saw it in London was‚ I think‚ the 1989 production at Covent Garden with Rosalind Plowright on good form but in a very poorly conceived production. Having heard Yvonne Howard’s assumption of the title role for COG‚ we are just crying out for someone to snap her up and stage the work‚ Grange Park‚ Opera Holland Park‚ English Touring Opera‚ anyone? '

The Turn of the Screw‚ Opera North
Independent (November 2010)


'Musically‚ the evening is arresting...well supported by Yvonne Howard’s supple Mrs Grose...'

The Turn of the Screw‚ Opera North
Observer on Sunday (October 2010)


'Embroilment and complicity are implied through telling detail: Flora plays an impossible cat’s cradle with the benign but fearful housekeeper Mrs Grose (the excellent‚ implacable Yvonne Howard)'

The Turn of the Screw‚ Opera North
Opera-Britannia.com (October 2010)


'Yvonne Howard as Mrs Grose contributes another fascinating characterisation to her wide-ranging roles for Opera North. Aged-up a few years by a frumpish wig and lined face‚ Howard’s Housekeeper skilfully balances motherly reassurance with apprehension and anxiety'

The Turn of the Screw‚ Opera North
Stage (October 2010)


'Yvonne Howard’s good-hearted Mrs Grose epitomises the solid background against which strange events stand out sharply'

The Turn of the Screw‚ Opera North
Telegraph (October 2010)


'Yvonne Howard’s Mrs Grose is a fine study in suppressed anxiety'

Fidelio‚ Opera Holland Park
Classical Source.com (July 2010)


'As should be the case‚ Leonore dominates proceedings – if anything Yvonne Howard’s interpretation has more depth and assurance than it had when the production was new. She makes a very credible young man‚ helped certainly by the similarity of her uniform to that of Stephen Richardson’s Rocco. Howard has great acting ability and it is always clear when she is playing Fidelio and when she is portraying the emotional inner turmoil of Leonore. Her dialogue is also well delivered – even down to a noticeable lowering of pitch. Her high mezzo suits the huge vocal range of the part‚ and she has all the requisite control of line and dynamic to deliver moments such as ‘Komm Hoffnung’ and the opening of the Act One quartet with poise'

Fidelio‚ Opera Holland Park
MusicalCriticism.com (July 2010)


'There were plenty of outstanding performances‚ both on stage and in the orchestra. Yvonne Howard as devoted wife and Tom Randle as husband Florestan sang with great emotional depth in their respective solo arias'

Fidelio‚ Opera Holland Park
Musicweb International (July 2010)


'Yvonne Howard was a sincere Leonore and navigated Beethoven’s often cruel demands without faltering'

Fidelio‚ Opera Holland Park
Opera Britannia (July 2010)


'Yvonne Howard‚ however‚ made a fine Leonore‚ her glowing acclaim from the last run proving mostly justified. She played the role of the woman playing the male Fidelio commendably‚ and her robust soprano was one of the highlights of the evening. Despite its relatively simple dramatic structure‚ the vocal parts in Fidelio are anything but straightforward‚ and Ms. Howard met the demands of her role’s often challenging tessitura with a bold assurance‚ her tone clear and radiant in the upper register'

Fidelio‚ Opera Holland Park
Stage (July 2010)


'But it is with the central performances that the show really strikes home. Yvonne Howard’s Fidelio is credible in her male disguise and blazes fiercely in her singing'

Fidelio‚ Opera Holland Park
Telegraph (July 2010)


'Yvonne Howard sang warmly and wisely in the title-role'

Fidelio‚ Opera Holland Park
Whats on Stage.com (July 2010)


'The company has assembled one of its finest casts for the revival. The returning Yvonne Howard is a magnificent Leonora: she invests every second of her performance with psychological honesty‚ even as she makes light of the cruel tessitura that marked Beethoven’s own inhumanity to man'

Knight Crew‚ Glyndebourne
Gramophone blog (March 2010)


'...and Yvonne Howard alternately tragic and mysterious as the Mother and the strange bag-lady Myrtle'

Knight Crew‚ Glyndebourne
Guardian (March 2010)


'...part of the magic of the music and of John Fulljames’s direction is that it allows influence to flow from innocence to experience as well as vice versa‚ adding a quality to the solo performances‚ notably of Yvonne Howard (Myrtle) and Pascal Charbonneau (Art'

Knight Crew‚ Glyndebourne
Independent (March 2010)


'...this is an extraordinarily accomplished piece of work...Soprano Claire Wild and tenor Pascal Charbonneau are wonderfully convincing as the chief protagonists‚ with mezzo Yvonne Howard doubling brilliantly as the bag-lady and Arthur’s despairing mother...it’s certainly a major achievement'

Knight Crew‚ Glyndebourne
Musical America (March 2010)


'It fell to a voice of experience‚ Yvonne Howard‚ to provide a role model‚ projecting magnificently as Mordec’s mother and Myrtle‚ the old soothsayer'

Knight Crew‚ Glyndebourne
Times (March 2010)


'...there is lyrical power from Pascal Charbonneau as Art‚ Claire Wild as Quin‚ and Yvonne Howard as a mystic bag-lady called Myrtle (presumably Merlin in a skirt)'

St Matthew Passion‚ Royal Festival Hall
Opera-Britannia.com (March 2010)


'Yvonne Howard’s elegant mezzo-soprano was a recurring delight‚ proving not only beautiful but also rather affecting in moments like her opening aria‚ ‘My Master and My Lord‚’ where she offers luxurious ointment to Christ in anticipation of his death. With a delicate and lovely flute accompaniment‚ she offered an anguished‚ heartfelt portrayal marked by some gorgeous phrasing. In addition to a very solid upper register‚ her middle range was secure and richly intoned. Part Two’s ‘Have mercy‚ Lord‚ on me’ was a particular highlight‚ adorned by Ms. Howard’s delicate phrasing and understated mournfulness as much as the achingly tender playing of the orchestra. The first violinist provided the main accompaniment to Ms. Howard‚ playing with tremendous sensitivity‚ her weeping tone suffused with subdued and plaintive feeling‚ all the more moving for its unadorned simplicity. It was perhaps the most singularly beautiful passage in the performance‚ a wonderful example of the way in which Bach scales down his mammoth ensemble to evoke a more understated‚ subjective sense of pity and emotion within individual roles'

Swanhunter‚ Opera North
Opera (January 2010)


'...and the Mother’s lament‚ given with potent grandeur by Yvonne Howard‚ suddenly reminds us that opera is really about singing'

Swanhunter‚ Opera North
Guardian (November 2009)


'Yvonne Howard’s life-affirming lament may be the most ravishing piece of sustained lyric writing Dove has produced'

Swanhunter‚ Opera North
Independent on Sunday (November 2009)


'Excellent ensemble-work aside‚ the vocal honours go to Howard‚ whose anxious refrain is expanded into a grand lament as she journeys to the north to reclaim her "cold‚ torn" son’s corpse'

Swanhunter‚ Opera North
Music & Vision.com (November 2009)


'He (Lemminkäinen) is put together again in a powerful final solo by his mother‚ Yvonne Howard'

Swanhunter‚ Opera North
Telegraph (November 2009)


'...six attractive singers‚ led by Andrew Rees (as Lemminkäinen) and Yvonne Howard (as his mother)‚ attack it all with enthusiasm'

Swanhunter‚ Opera North
Times (November 2009)


'...all is not lost. Lemminkäinen’s long-suffering mother (a majestic Yvonne Howard) deploys all her vocal powers to reassemble her son’s dismembered body'

Véronique‚ Buxton Festival
Opera (September 2009)


'There were finely-judged performances all round...Howard’s countess with an eye below stairs‚ whose mock-Verdian aria at the start of Act 3 was immaculately delivered'

Roberto Devereaux‚ Opera Holland Park
Opera (August 2009)


'As Sara‚ Duchess of Nottingham - Elizabeth’s rival for Devereux’s affections - Yvonne Howard gave a wonderfully sympathetic performance‚ her softer-edged portrayal an ideal foil for the angry‚ implacable queen'

Véronique‚ Buxton Festival
Music & Vision.com (July 2009)


'Yvonne Howard’s Ermerance is made of similar stuff. In her case it is an awareness of time passing and life slipping by (almost rivalling that of the Marschallin in Der Rosenkavalier) that gives her character depth‚ touchingly explored in her big Act 3 number'

Véronique‚ Buxton Festival
Sunday Times (July 2009)


'There is excellent work from Yvonne Howard as Hélène’s flirtatious aunt'

Roberto Devereaux‚ Opera Holland Park
Evening Standard (June 2009)


'The role of his lover‚ Sarah‚ Duchess of Nottingham‚ is well taken by Yvonne Howard‚ who brings to it dignity‚ grace and vocal authority'

Roberto Devereaux‚ Opera Holland Park
Guardian (June 2009)


'...beautifully expressed by the excellent Yvonne Howard as the compromised Duchess of Nottingham'

Roberto Devereaux‚ Opera Holland Park
Independent on Sunday (June 2009)


'...Yvonne Howard’s gentle Duchess of Nottingham is the only principal to act when not singing'

Roberto Devereaux‚ Opera Holland Park
Intermezzo.com (June 2009)


'Yvonne Howard’s dignified and gracefully-sung Sara'

Roberto Devereaux‚ Opera Holland Park
MusicalCriticism.com (June 2009)


'Yvonne Howard was in her element as Sara‚ Duchessa di Nottingham: playing the tortured character with vitality‚ her singing is impassioned in a role that seems to lie well for her'

Roberto Devereaux‚ Opera Holland Park
MusicOHM.com (June 2009)


'Yvonne Howard as Sara‚ Duchess of Nottingham‚ cut a lonely figure as she sang so intensely of her love for Roberto at the start‚ her voice trembling in lament'

Roberto Devereaux‚ Opera Holland Park
Observer on Sunday (June 2009)


'...and poetic remorse‚ beautifully expressed by the excellent Yvonne Howard as the compromised Duchess of Nottingham'

Roberto Devereaux‚ Opera Holland Park
Oxford Times (June 2009)


'(Yvonne Howard) She‚ in turn‚ elevated her role to something much beyond the standard seconda donna; tortured between two loves‚ her passion for Essex makes her the true protagonist'

Roberto Devereaux‚ Opera Holland Park
Stage (June 2009)


'Under leading bel canto expert Richard Bonynge‚ the score crackles throughout. Yvonne Howard charts the predicament of Sara with skill and security'

Roberto Devereaux‚ Opera Holland Park
Sunday Express (June 2009)


'Leonardo Capalbo as Essex‚ Yvonne Howard as a dignified and graceful Duchess and Julian Hubbard as the cuckolded Duke are all strongly cast'

Roberto Devereaux‚ Opera Holland Park
Sunday Times (June 2009)


'The veteran Richard Bonynge‚ husband of Joan Sutherland‚ ensures stylish playing from the City of London Sinfonia‚ and three of the leads — Majella Cullagh’s feisty Elizabeth I‚ Leonardo Capalbo’s elegant Essex (Roberto)‚ and Yvonne Howard’s Duchess of Nottingham — are terrific'

Roberto Devereaux‚ Opera Holland Park
This is London (June 2009)


'The role of his lover‚ Sarah‚ Duchess of Nottingham‚ is well taken by Yvonne Howard‚ who brings to it dignity‚ grace and vocal authority'

Roberto Devereaux‚ Opera Holland Park
Times (June 2009)


'Yvonne Howard’s Sara‚ Duchess of Nottingham — his new squeeze — polished and affecting. Conducting‚ Richard Bonynge shows his decades of experience in his authoritative but understated support for his singers‚ and a well-crafted blend in the ensemble'

Götterdämmerung‚ Halle at Bridgewater Hall
Musical Criticism (May 2009)


'...with Yvonne Howard’s forthright‚ textually-aware Second Norn standing out in this difficult narration.'

Norma‚ English Touring Opera
Opera Today (May 2009)


'The Norma was Yvonne Howard‚ a career mezzo whose recent forays into the soprano repertoire (notably‚ Leonore for Opera Holland Park and Lady Macbeth for Opera North) have been proving consistently successful. She undoubtedly sounds more soprano than mezzo these days‚ her voice brighter-hued than that of the Adalgisa‚ and her top notes easily produced and fully integrated with the rest of her voice'

Norma‚ English Touring Opera
Music and Vision (April 2009)


'Howard was a real surprise as Norma. Granted she does not have the brilliant gleaming top of a Sutherland or Caballé. But her voice is relatively soft grained‚ attractively warm and has a flexible and well controlled high extension. At no point in the evening did she sound like a mezzo-soprano pushing her voice to its ultimate. On the contrary‚ she turned in a performance notable for its control‚ phrasing and well modulated musicality. ...It was Howard’s entrance which raised the emotional level of the performance...

Though this was a concert performance the singers were without scores and made entrances and exits. Howard added to this a passionately moving dignity of demeanour. She and Mellor developed a strong rapport and I would have loved to hear them in a staging.


'

Norma‚ English Touring Opera
MusicOMH.com (April 2009)


'Norma is notoriously difficult to sing but Yvonne Howard delivers the part admirably. Like many of the great Normas of the past‚ Howard began her career as a mezzo‚ and this is still apparent from her voice. '

Norma‚ English Touring Opera
Seen and Heard International (April 2009)


'Howard’s Norma and Alwyn Mellor’s Adalgisa though vocally rather too close in timbre were outstanding‚ they stole the show and would grace any staging anywhere in the world. Yvonne Howard began with a radiant ‘Casta diva’ and continued with some very dignified‚ effortless and controlled singing rising to the challenge of a splendid high D at the end of the trio. Her clear projection was the highlight of a very stately performance full of maternal concern and suppressed rage.'

Norma‚ English Touring Opera
www.classicalsource.com (April 2009)


'Among the strong cast was Yvonne Howard‚ stunning in her account of the eponymous Druid priestess. Resplendent‚ Howard held the audience spellbound with her effortless‚ creamy tones. With stratospheric lines well-integrated into the range of her powerful yet subtle voice‚ she was terrifying in her fury‚ communicated emotional gentleness and vulnerability‚ and was always dignified and commanding.'

Norma‚ English Touring Opera
Daily Telegraph (March 2009)


'Not since Maria Callas’s prime over half a century ago has any soprano scaled the heights of its massive and complex title role‚ which demands majestic declamation‚ lyrical poise‚ electrifying virtuosity and a chink of vulnerability - as well as sheer vocal stamina. Joan Sutherland‚ Montserrat Caballe and Renata Scotto are among those who have fallen in the attempt; Leontyne Price and Renee Fleming have steered clear of the challenge altogether. I wouldn’t claim that Yvonne Howard has capped the lot of them‚ but her debut in ETO’s hugely enjoyable concert version offers a thoughtful and musical interpretation that time and reputation will surely mature. Looking splendidly gracious and regal‚ she radiated the serene dignity of Norma the priestess..providing a steady flow of warm‚ firm tone and clear verbal enunciation. Howard appears to be moving her range from mezzo-soprano to soprano: as if to advertise this ascent‚ she let fly some magnificent blasts of sound high above the stave. But it was her expressive eloquence in the noble closing scene of denunciation and renunciation that was most impressive.'

Norma‚ English Touring Opera
Guardian (March 2009)


'Howard’s Casta Diva had a real warmth and allure to it‚ and her singing never lost its poise'

Norma‚ English Touring Opera
Observer (March 2009)


'..Yvonne Howard magnificent in her first account of the demanding title role... A performer of dignity and grace‚ Howard brought her experience of Wagner and Verdi to this favourite role of Callas and Sutherland. Her voice was flexible‚ powerful and impressive in control. '

Boris Godunov‚ English National Opera
Musical Criticism.com (November 2008)


'...Varlaam was excellent in the comic scenes on the Lithuanian border‚ as was Yvonne Howard’s inn-keeper'

La Gioconda‚ Opera Holland Park
Independent on Sunday (August 2008)


'Yvonne Howard sings the role of Laura with sensitivity and intelligence'

La Gioconda‚ Opera Holland Park
Musical Pointers (July 2008)


'The demands made on the singers are considerable‚ and ideally six voices of world class stature are required. On this particular evening‚ Yvonne Howard (Laura) was the only singer to demonstrate these credentials to the full...'

La Gioconda‚ Opera Holland Park
MusicalCriticism.com (July 2008)


'Yvonne Howard was exceptional as Laura and when she duetted with Jeffers the results were riveting'

La Gioconda‚ Opera Holland Park
Telegraph (July 2008)


'But the more poised and elegant singing came from the excellent David Soar as the Inquisitor Alvise and Yvonne Howard as Enzo’s inamorata Laura.'

A Midsummer Night’s Dream‚ Opera North
The Times (May 2008)


'Seasoned stalwart Yvonne Howard manages to make something memorable and funny of Hippolyta.'

Midsummer Night’s Dream‚ Opera North
Sunday Times (May 2008)


'Yvonne Howard’s imposing Hippolyta...cast from strength.'

Romeo et Juliette‚ Opera North
The Times (May 2008)


'...strong supporting performances from ...Yvonne Howard as a risibly whoreish Gertrude.'

Roméo et Juliette‚ Opera North
The Stage (May 2008)


'An interesting characterisation has Juliette’s nurse‚ here played by Yvonne Howard‚ as a voluptuous‚ eye-winking type who could pull a decent pint'

Peter Grimes‚ Opera North
Opera Today (March 2008)


'Good vignette parts all round‚ especially Yvonne Howard’s Auntie.'

Peter Grimes‚ Opera North
Evening Standard (February 2008)


'Among a strong supporting cast‚ Yvonne Howard’s Auntie stand out.'

Peter Grimes‚ Opera North
Daily Telegraph (January 2008)


'Outstanding.'

Peter Grimes‚ Opera North
MusicalCriticism.com (January 2008)


'Yvonne Howard as the matriarchal host (Auntie) of the Boar’s Head ruled time and delivered some of the most beautiful vocal phrasing I have heard for a long time.'

Fidelio‚ Royal Opera House
Seen & Heard (June 2007)


'The ovation she was given was well deserved.'

Marriage of Figaro‚ English National Opera
Opera (March 2007)


'Yvonne Howard’s warm‚ womanly Marcellina...first rate.'

Peter Grimes‚ Opera North
Stage (January 2007)


'Yvonne Howard as Auntie...the casting could hardly be bettered today.'

Peter Grimes‚ Opera North
operayre.com (December 2006)


'Yvonne Howard es una cantante de muche experiencia y de imponente presencia fiscia y su ’Auntie’ fue clásica‚ una senora tabernera que se las sabe todas y con voz de sobra para el rol y con una autoridad escénica impresionante.'

Peter Grimes‚ Opera North
classicalsource.com (November 2006)


'Yvonne Howard’s Auntie‚ fruitily sung‚ was a more dominant hostess than most.'

Peter Grimes‚ Opera North
Jewish Chronicle (November 2006)


'Superb performances from...Yvonne Howard (Auntie).'

Peter Grimes‚ Opera North
Liverpool Daily Post (November 2006)


'The comic twist was provided by Yvonne Howard‚ singing the part of Auntie‚ the Landlady of The Boar.'

Peter Grimes‚ Opera North
Manchester Evening News (November 2006)


'Yvonne Howard is excellent as Auntie.'

Peter Grimes‚ Opera North
MusicOMH.com (November 2006)


'Yvonne Howard was a vivid Auntie.'

Peter Grimes‚ Opera North
Oldham Evening Chronicle (November 2006)


'...wonderfully down to earth as Auntie.'

Peter Grimes‚ Opera North
Seen and Heard (November 2006)


'Yvonne Howard (Auntie) sings with clarity and strength.'

Peter Grimes‚ Opera North
Sunday Telegraph (November 2006)


'Yvonne Howard’s Auntie...luxury casting.'

Peter Grimes‚ Opera North
Sunday Times (November 2006)


'Yvonne Howard (a Cynthia Payne-esque Auntie...luxuriously cast.'

Peter Grimes‚ Opera North
The Independent (November 2006)


'Yvonne Howard makes an authoritative landlady.'

Peter Grimes‚ Opera North
The Press (November 2006)


'Yvonne Howard’s fearsome Auntie.'

Peter Grimes‚ Opera North
Times (November 2006)


'Nor can I recall a production that produced such plausible characters: Yvonne Howard’s tough-as-nails Auntie.'

Peter Grimes‚ Opera North
Daily Telegraph (October 2006)


'A superb supporting cast‚ among whom I would single out...Yvonne Howard (Auntie).'

Merry Wives of Windsor‚ Buxton Festival
Opera (October 2005)


'Yvonne Howard was very very funny as Mistress Page.'

Merry Wives of Windsor‚ Buxton Festival
Telegraph (July 2005)


'...the conniving Mistresses Page and Ford‚ played as a sparky double act by Yvonne Howard and Helen Williams.'

Merry Wives of Windsor‚ Buxton Festival
Times (July 2005)


'...Yvonne Howard equally good as Meg Page.'

Eugine Onegin‚ ENO
Seen & Heard (June 2005)


'Diction from the three major soloists of the first part of the first Tableau‚ Yvonne Howard (Madame Larina)...was exemplary...Howard’s Larina was lovely and matronly‚ a cuddly mother-figure with a mezzo voice that could occasionally and rightly veer towards the contralto.'

Twilight of the Gods‚ English National Opera
Sunday Times (April 2005)


'...and Yvonne Howard’s Norns I and II are so good that you marvel that they are not this Ring’s Erda and Fricka as well'

Die Zauberflöte‚ Royal Opera
MusicOMH.com (February 2005)


'Special credit should go to the Three Ladies‚ who were outstanding...in particular Yvonne Howard (as the Third Lady) got the show off to a fabulous start with outstandingly pure singing.'

Die Zauberflöte‚ Royal Opera House
Sunday Times (February 2005)


'There are three marvellous ladies...Howard.'

Messiah‚ Minnesota Orchestra
Pioneer Press (December 2004)


'...some wonderful moments.'

Messiah‚ Minnesota Orchestra
Star Tribune (December 2004)


'While the alto solos in "Messiah" can’t be called the most riveting‚ mezzo Yvonne Howard made the most of them‚ delivering almost a tearful quality at the end of - He was despised'

Hercules‚ Buxton Festival
Daily Telegraph (July 2004)


'Yvonne Howard...sang with flair and cut a splendid figure.'

Hercules‚ Buxton Festival
Guardian (July 2004)


'The cast is distinguished by two brilliantly matched sopranos in Yvonne Howard and Gillian Keith...Keith and Howard provide the voices of innocence and experience...Howard chestier but magnificently secure in the florid expulsions of Dejanira’s madness...This is baroque singing and playing of the highest order.'

Hercules‚ Buxton Festival
Sunday Telegraph (July 2004)


'Dejanira is a wonderful mezzo-soprano role with a succession of heart-piercing arias...marvelously sung by Howard.'

Hercules‚ Buxton Festival
Sunday Times (July 2004)


'[Yvonne Howard] negotiates the music with remarkable agility.'

Hercules‚ Buxton Festival
Times (July 2004)


'This staging brings completeness of drama and poignancy‚ thanks in great part to a harrowing performance by Yvonne Howard as Dejanira‚ Hercules’ unfortunate wife.'

Magic Flute‚ ENO
Sunday Times (April 2004)


'...the most enjoyable vocal performances come from the Queen of Night’s trio of attendant ladies...especially the wonderful Yvonne Howard.'

Fidelio‚ Holland Park
Opera (June 2003)


'Yvonne Howard’s Leonore showed just the committed intensity ..an unflinching musical and dramatic interpretation.'

Fidelio‚ Holland Park
Stage (June 2003)


'Yvonne Howard and Alan Oke are the glory of the evening. Howard brings restraint and dignity to the role..her vibrant mezzo rising to the musical challenges with power and sensitivity.'

Fidelio‚ Opera Holland Park
Guardian (June 2003)


'Leonore is played by Yvonne Howard in a performance of overwhelming vocal and dramatic intensity that ranks alongside her achievement in Penny Woolcock’s film‚ The Death of Klinghoffer‚ and marks her out as one of the finest singing actresses this country has produced.'

Fidelio‚ Opera Holland Park
Sunday Telegraph (June 2003)


'I was enthralled by the Fidelio/Leonore of Yvonne Howard ..tender‚ passionate‚ fearless in the face of the vertical ascents of Abscheulicher! and Namenlose Freude.'

Fidelio‚ Opera Holland Park
Times (June 2003)


'When this Leonore stepped out of her disguise into Komm... out came the full tone and ardent emotion; every prisoner should have such a champion.'

Fidelio‚ Opera Holland Park
What’s On (June 2003)


'It is hard to overpraise Yvonne Howard’s intensely passionate Leonora‚ shading her phrases beautifully...her duet with the impressive Alan Oke was a soaring pleasure.'

Night in Old Vienna‚ English Serenata
Birmingham Post (May 2003)


'An exquisite performance of Mahler’s Ruckert song by mezzo-soprano Yvonne Howard‚ the undoubted star of the evening. A sparkling artist who fully communicated with the musicians and listeners‚ she captivated all with wonderful intonation‚ lovely long phrases‚ effortless leaps‚ rich creamy tone‚ sense of humour and amazing vocal acrobatics (matching two yodelling horns) in The Sound of Music.'

Death of Klinghoffer (film)
Los Angeles Times (April 2003)


'As Marilyn Klinghoffer‚ Yvonne Howard gives a stellar dramatic performance.'

Dream of Gerontius‚ Royal Choral Society
Cape Cod Times (September 2002)


'English mezzo-soprano Yvonne Howard‚ in pale blue-green satin gown‚ sang the role of the comforting Angel with a richly glowing sound that matched the warmth and dignity of her statuesque appearance on stage.'

Rinaldo‚ Grange Park Opera
Times (July 2000)


'Yvonne Howard was a dependable Goffredo.'

Falstaff‚ Opera North
Financial Times (January 2000)


'A strong Meg from Yvonne Howard'

Rodelinda
Sunday Tribune (May 1999)


'Edwige‚ sung by Yvonne Howard‚ another splendidly secure voice with a Wagnerian ring to it.'

Il Trovatore‚ Opera South
The Irish Times (November 1998)


'A youthful Azucena from Yvonne Howard deserves all the superlatives available for technique‚ sense of drama and exquisite modulation of tone and thought.'

Falstaff‚ Opera North
Opera (March 1997)


'A fresh‚ attractive Meg.'

Giulio Cesare‚ Royal Opera House
Opera Magazine (January 1997)


'From the start she projected dignity‚ firmness‚ authority through line and tone‚ the colour and shading of which suggested parallels with that unforgotten Handelian alto Helen Watts...I should certainly like to encounter Howard’s performance of it elsewhere.'

Sweet Swan of Avon (recording)
BBC Music Magazine (October 1995)


'Yvonne Howard is excellent‚ colouring her voice to suit a wide variety of styles and moods... hugely enjoyable.'

Sweet Swan of Avon (recording)
Federation of Recorded Music Societies’ Bulletin’ Magazine (January 1995)


'...exquisitely sung by Yvonne Howard; her interpretation of the Arne in particular is the best I have ever heard.'

The Ring Saga‚ City of Birmingham Touring Opera
Financial Times (November 1990)


'How‚ for instance‚ Yvonne Howard could make Fricka’s confrontation with Wotan so rivetting in the second act of ’Alberich’s Curse’ and then in the second part bring a greater intensity to Waltraute’s narration than Ive encountered was quite remarkable.'

The Ring Saga‚ City of Birmingham Touring Opera
Guardian (November 1990)


'...a stunning Waltraute-Fricka by Yvonne Howard.'

The Ring Saga‚ City of Birmingham Touring Opera
Sunday Telegraph (November 1990)


'Yvonne Howard’s imperious Fricka was even surpassed by her marvellous singing of Waltraute’s aria.'

The Ring Saga‚ City of Birmingham Touring Opera
Times (November 1990)


'One is so entirely gripped by the ringing articulation of Yvonne Howard as Fricka and Waltraute.'