Mozart Missa brevis K194 & 275 / Regina coeli K127 - Naxos CD
BBC Music Magazine (April 2013)
'Both [Masses] are performed with energy‚ clarity and poise by the St Albans Cathedral Choir and the Sinfonia Verdi...The penultimate section is exquisitely lovely‚ and finely sung by Elizabeth Cragg'
Mozart Missa brevis K194 & 275 / Regina coeli K127 - Naxos CD
Naxos.com (March 2013)
'...a good period orchestra‚ and the attractively voiced soprano of Elizabeth Cragg'
St. John Passion‚ Washington National Cathedral
Washington Post (March 2013)
'Elizabeth Cragg’s soprano was fresh and radiant'
The Love for Three Oranges‚ De Nederlandse Opera
BachTrack.com (March 2013)
'The Princesses of Orange were each remarkable...Elizabeth Cragg sang Ninette with a stunning lightness and subtlety'
The Love for Three Oranges‚ De Nederlandse Opera
De Volkskrant (March 2013)
'De degelijke zangerscast kent geen uitschieters‚ of het moest de sopraan Elizabeth Cragg zijn‚ de begeerde prinses die uit haar schil kruipt /// This solid cast of singers knows no extraordinary standouts‚ except for the soprano Elizabeth Cragg‚ the desired princess who crawls out from her peel'
The Love for Three Oranges‚ De Nederlandse Opera
OperaClick.com (March 2013)
'Buona la coppia del Principe e della Principessa Ninetta a cui hanno dato voce Martial Defontaine e Elizabeth Cragg ///Prince and Princess Ninetta made a good couple‚ sung by Martial Defontaine and Elizabeth Cragg'
Orlando Generoso‚ Barber Opera
Opera (December 2012)
'...the music floweing in an inevitable sequence‚ is magnificent‚ and was powerfully conveyed by the singers...Particularly memorable was the lament ’Se t’eclissi’‚ almost a template for ’Scherza‚ infida’ from Handel’s Ariodante‚ sung by the busy lust-object Angelica (Elizabeth Cragg)'
Orlando Generoso‚ Barber Opera
Opera Magazine (November 2012)
'Particularly memorable was the lament ’Se t’eclissi’‚ almost a template for ’Scherza‚ infida’ from Handel’s "Ariodante"‚ sung by the busy lust-object Angelica (Elizabeth Cragg)'
Orlando Generoso‚ Barber Opera
Birmingham Post (October 2012)
'The cast of young professional singers made a well-chosen team‚ outstanding among them... Elizabeth Cragg'
Orlando Generoso‚ Barber Opera
Music & Vision (September 2012)
'It was the arrival of soprano Elizabeth Cragg as imperial Angelica that lifted this music and staging to a yet higher plane. The voice is pure -- utterly scintillating at best -- and several of Steffani’s arias for her are‚ or came across as‚ like a moving plaint. Add to her another soprano‚ Catarina Sereno‚ as the ’African’ (Libyan?) wounded soldier whom she nurses and falls for‚ and easily the most touching encounters of the opera ensued. Every time these two lovers were together‚ face to face‚ forehead to forehead‚ or circling round one another like Romeo and Juliet innocents‚ one sensed the shyness‚ and patent honesty‚ of young love. Their solos and periodic duets -- for Steffani advanced the cause of ensemble singing -- were enchantment itself. More‚ they were memorable'
Messiah‚ Harrogate Choral Society
Harrogate Advertiser (December 2011)
'…the beautiful and lyrical soprano voice of Elizabeth Cragg. Her tone had a liquid quality which was quite beautiful to listen to. Her rendition of Rejoice greatly was simply amazing whilst her sense of tenderness in How beautiful are the feet and I know that my redeemer liveth showed tremendous control of tone. This was especially so at the end of this precious aria‚ where Miss Cragg sang with an unbelievably soft pianissimo maintaining perfect control of both tone and support; truly amazing to hear!'
Gloria‚ Magnificat‚ Te Deum: Rutter CD - Naxos
Gramophone (August 2011)
'Soprano soloist Elizabeth Cragg is especially melting in the delicious “Esurientes” movement'
Gloria‚ Magnificat‚ Te Deum: Rutter CD - Naxos
David’s Review Corner (April 2011)
'Elizabeth Cragg the silvery voiced solo soprano‚ Tom Winpenny the organist. Very strongly recommended'
Swanhunter‚ Opera North
Opera (January 2010)
'The Swan‚ sung with pinging accuracy by Elizabeth Cragg'
Dido & Aeneas‚ La Monnaie
ResMusica.com (January 2008)
'Très belle prestation. '
Il Combattimento‚ Netherlands Opera
De Telegraaf (September 2007)
'Elizabeth Cragg (Clorinda) mag ultiem sterven op de mooiste. Monteverdi-maten die je je kunt voorstellen. Zij doet dat weergaloosontroerend! (Elizabeth Cragg (Clorinda) is ultimately allowed to die in the most lovely Monteverdi way you can imagine. She does this in a uniquely moving way!)'
Ariadne aud Naxos‚ Garsington
Opera (August 2007)
'Elizabeth Craggs Zerbinetta was pert and pretty and confidently sailed through the pyrotechnics of her big aria.'
Ariadne aud Naxos‚ Garsington
Independent (July 2007)
'To watch the scantily attired Elizabeth Cragg scorn the elements with her titillating roulades and dizzying high Ds was to witness heroic efforts above and beyond the call. '
Ariadne aud Naxos‚ Garsington
Independent on Sunday (July 2007)
'A sparkling turn from Elizabeth Cragg as Zerbinetta.'
Ariadne aud Naxos‚ Garsington
Nueu Zërcher Zeitung (July 2007)
'Dank der überragenden Elizabeth Cragg als Zerbinetta gab es in «Ariadne von Naxos» gleich nochmals ein Koloraturfeuerwerk zu hören.'
Ariadne aud Naxos‚ Garsington
Oxford Times (July 2007)
'Sometimes it seems that we are the playthings of the Gods. Scarcely had Elizabeth Cragg embarked upon Zerbinettas long solo Grossmächtige Prinzessin - widely regarded as the most fiendishly difficult coloratura aria ever written - than the heavens opened and wind raged. Ignoring the rain cascading onto the stage‚ the heavy surtitle banner swinging precariously above her and the plastic walls of the auditorium cracking like ogre-wielded whips all around us‚ this brilliant soprano sang on. In defiance of the elements‚ she proceeded with the flashy display of roulades‚ trills and darting melody‚ in which were confessed the saucy commedia stars wicked‚ wicked ways‚ as she pouted‚ preened and stretched languorously on her white sofa. What a marvel of control - and thoroughly deserving of the ovation she received from Monday nights first-night audience for Richard Strauss' sublime Ariadne auf Naxos.'
Ariadne aud Naxos‚ Garsington
Sunday Times (July 2007)
'Elizabeth Cragg made a pretty amazing stab at the fiendish demands of Zerbinettas aria. For a first go at this vocal tightrope-walking role‚ she was only just short of sensational.'
Ariadne aud Naxos‚ Garsington
Guardian (June 2007)
'But the knockout performance‚ astonishing in the circumstances‚ was Elizabeth Craggs Zerbinetta. Vocally assured and with undaunted stage presence‚ she lit up a tempestuous evening more than the fireworks with which the performance ended. Medals have been won for far less.'
Ariadne aud Naxos‚ Garsington
MusicWeb.com (June 2007)
'An exquisite Zerbinetta‚ Elizabeth Cragg seduced the audience with her seamless coloratura and delicate phrasing.'
Ariadne aud Naxos‚ Garsington
The Stage (June 2007)
'Elizabeth Craggs Zerbinetta scintillates in her famous showpiece aria.'
Ariadne aud Naxos‚ Garsington
Times (June 2007)
'This is the battle of the Ziegfeld Follies‚ dominated by Elizabeth Craggs pert and prettily sung Zerbinetta - part Ginger Rogers‚ part Jessica Rabbit.'
Ascanio in Alba‚ Buxton
Sunday Times (July 2005)
'Elizabeth Cragg turned in some scary‚ princess-of -the-night coloratura.'
Scottish Chamber Orchestra
The Herald (January 2004)
'Elizabeth Cragg...whose bright tones were shown to best advantage in her first aria‚ Deh Vieni.'
Israel in Egypt
Guardian (April 2003)
'Elizabeth Cragg and Anhgarad Gruffydd Jones sounded glorious as their voices wound round each other in their big duet.'
Muzio Scaevola‚ Royal College of Music
Times (April 2001)
'Elizabeth Craggs agreeably silvery soprano.'
Silla‚ London Handel Orchestra (recording)
Opera (March 2001)
'Elizabeth Cragg sings with a lovely clarity.'
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