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  Mezzo Sopranos: Emma Carrington - Reviews
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Parsifal‚ Wagner‚ BBC proms 2013 concert recording. Hallé
Opera Magazine (October 2017)


'The smaller roles are more successfully taken‚ and the choral sections are expertly sung‚ with the Flower Maidens sounding as gorgeously sensuous as one might reasonably expect. '

Die Fledermaus‚ Welsh National Opera
BachTrack.com (June 2017)


'Even the normally bored Prince Orlofsky‚ sung with an admirable Russian accent by Emma Carrington‚ looks slightly amused at the chaos.'

Die Fledermaus‚ Welsh National Opera
Classical Source (June 2017)


'Prince Orlofsky is a tough role‚ and Emma Carrington is particularly good with dialogue and at evincing the boredom of the Russian millionaire: ‘Ich lade gern mir Gäste ein’‚ about an adolescent experiencing issues with a breaking voice‚ was stylishly sung.'

Prince Igor‚ Chelsea Opera Group
Opera Magazine (December 2016)


'Emma Carrington seemed to have conquered her announced cold to provide an impassioned and vocally sensuous account of Konchakovna‚ her duet with Andrew Ree’s subtly voiced Vladimir Igoryevich being one of several genuine highlights. '

Akhnaten‚ English National Opera
Opera Magazine (May 2016)


'The score calls for relatively solo singing‚ but the two women completing the central trio were well taken by Emma Carrington (sculpting a warm mezzo line as Nefertiti) and Rebecca Bottone (bright - toned as Queen Tye. '

Akhnaten‚ English National Opera
A Younger Theatre (March 2016)


'Emma Carrington and Bottone as Nefertiti and Queen Tye‚ respectively‚ match Costanzo with their beautiful sound. When singing together – like in the Window of Appearances scene – the three become one polyphonic sound that moves and soothes. The powerful love duet between Akhnaten and Nefertiti is a masterclass in balance and sound quality‚ carrying the melody with ease and soul.'

Akhnaten‚ English National Opera
Cross Eyed Pianist (March 2016)


'...Add to this Anthony Roth Costanzo’s extraordinary other-wordly voice – made even more extraordinary when combined with Emma Carrington’s beautiful‚ statuesque Nefertiti'

Akhnaten‚ English National Opera
Evening Standard (March 2016)


'
His bittersweet timbre mingles voluptuously with the darker tones of Emma Carrington‚ playing his wife Nefertiti.
'

Akhnaten‚ English National Opera
MusicOMH (March 2016)


'Emma Carrington was a rich-toned Queen Nefertiti'

Akhnaten‚ English National Opera
Opera Britannia (March 2016)


'wife Nefertiti was sung with warm vibrancy by Emma Carrington‚ both of them with concentrated levels of intensity. The intermingling lines of Akhnaten and Nefertiti’s Act II love duet were a particular musical highlight'

Akhnaten‚ English National Opera
Sunday Times (March 2016)


'they are serenely sung by Emma Carrington and Rebecca Bottone'

Akhnaten‚ English National Opera
The Independent (March 2016)


'No praise too high for Emma Carrington’s luscious Nefertiti'

Akhnaten‚ English National Opera
The Times (March 2016)


'Emma Carrington‚ new to ENO‚ impresses as Nefertiti'

Akhnaten‚ English National Opera
Timeout (March 2016)


'Emma Carrington’s Nefertiti‚ by contrast‚ radiates sensuality‚ bringing a richness to the duets... '

The Rake’s Progress‚ Teatro Municipal de Santiago
Radio Bio-Bio (July 2015)


'Dentro de las estupendas voces del elenco de cantantes‚ debemos destacar nitidamente la del tenor estadounidense Jonathan Boyd‚ como Tom Rakewell; la soprano australiana Anita Watson‚ como Ann Trulove; la mezzosoprano británica Emma Carrington‚ como Baba the Turk y el bajo-barítono estadounidense Wayne Tigges‚ como Nick Shadows (El Diablo) /// Among the great voices of the cast of singers‚ we must emphasize the US tenor neatly Jonathan Boyd‚ as Tom Rakewell; Australian soprano Anita Watson‚ as Ann Trulove; Emma Carrington British mezzo-soprano as Baba the Turk and American bass-baritone Wayne Tigges‚ as Nick Shadow (El Diablo)'

The Rake’s Progress‚ Teatro Municipal de Santiago
BeethovenFM.cl (July 2015)


'...the International cast was outstanding. The leading quartet of Jonathan Boyd (Tom‚ the libertine)‚ Anita Watson (Anne Trulove)‚ Wayne Tiggers (Nick Shadow) and Emma Carrington (Baba)‚ gave life to their characters and dazzled with their powerful voices'

The Rake’s Progress‚ Teatro Municipal de Santiago
Desde la Butaca (July 2015)


'De las actuaciones femeninas‚ fue la de Emma Carrington como Baba la Turca la más llamativa‚ tanto por su caracterización física como por el empoderamiento mostrado en su papel‚ que más de alguna sonrisa arrancó de los auditores con su jocosa interpretación...La actuación de Emma Carrington‚ como Baba la Turca acaparó todas las miradas /// Of all the female performances Emma Carrington as Baba the Turk was the most striking both for its physical characterization as shown in her empowering the role‚ which started more than a smile and with humorous interpretation...Emma Carrington ’s performance ‚ as Baba the Turk captured all eyes'

The Rake’s Progress‚ Teatro Municipal de Santiago
Economía y Negocios (July 2015)


'La mezzo Emma Carrington fue un deleite con su intensa y divertida Baba la Turca /// The mezzo Emma Carrington was a delight with her intense and fun Baba the Turk'

The Rake’s Progress‚ Teatro Municipal de Santiago
El mercurio (July 2015)


'The mezzo Emma Carrington was a delight with her intense and fun Baba the Turk'

The Rake’s Progress‚ Teatro Municipal de Santiago
La Canción no es la misma (July 2015)


'...Emma Carrington‚ en su papel de Baba‚ se roba mucho de la película ///...Emma Carrington‚ in her role as Baba‚ steals the show'

The Rake’s Progress‚ Teatro Municipal de Santiago
Visionescriticas.com (July 2015)


'Emma Carrington‚ fue Baba la Turca‚ ella que tiene un físico estupendo‚ impacta enormemente al ser convertida en un travesti‚ cantó con poderosa y bella voz /// Emma Carrington as Baba the Turk‚ has a great physical‚ impact (turned into a transvestite) and sang with powerful and beautiful voice'

The Magic Flute‚ Welsh National Opera‚ Birmingham
Classical Source.com (June 2015)


'There was also an impressive trio of ladies – nicely individual and yet formidable as a team'

The Magic Flute‚ Welsh National Opera‚ Birmingham
The Birmingham Post (June 2015)


'The ensemble support was fine too: including the splendidly lascivious Three Ladies'

Die Walküre (Act III) Welsh National Opera at Millennium Centre
LietoLondon (April 2015)


'And the vocal prowess of every performer matched that of the orchestral players‚ starting with an impressive band of warrior maidens. Each and every one was full-blooded in their singing but there was also something else. Perhaps it was the obvious enjoyment these eight singers conveyed singing as ensemble‚ but there was not only a sense of sisterly camaraderie but also a real sense of competition between these maidens. And special mention must go to Katherine Broderick‚ Meeta Raval‚ Camilla Roberts and Emma Carrington. Superb'

The Magic Flute‚ Welsh National Opera
Opera Today.com (March 2015)


'The appearance of the aproned Three Ladies got things racing along with excited high-spiritedness. First Lady Camilla Roberts’s crystal clear tone and vibrancy delivered a strong lead for the individually differentiated but well-blended trio of ‘maids’‚ while Emma Carrington’s Third Lady provided a well-centred foundation for Roberts’ and a vivacious Máire Flavin. All three made the most of Jeremy Sams’s engaging translation to hook us into the absorbing quest ahead‚ their lively rivalry and sincere concern for Tamino stimulating our own curiosity and compassion'

The Magic Flute‚ Welsh National Opera
Seen & Heard International (March 2015)


'...the Queen’s Three Ladies. Well sung by Camilla Roberts‚ Máire Flavin and Emma Carrington'

The Magic Flute‚ Welsh National Opera
MarkRonan.com (February 2015)


'This was altogether a strong cast...her three ladies (Camilla Roberts‚ Máire Flavin‚ Emma Carrington) equally attractive in tone‚ lifting their skirts to entice Tamino into breaking his vows and losing Pamina'

The Magic Flute‚ Welsh National Opera
South Wales Argus (February 2015)


'...excellent‚ as were the three ladies (Emma Carrington‚ Camilla Roberts and Máire Flavin)'

The Magic Flute‚ Welsh National Opera
Theatre in Wales (February 2015)


'Camilla Roberts‚ Máire Flavin and Emma Carrington are perfect. They all sing with great clarity and have great delight in their roles'

The Magic Flute‚ Welsh National Opera
WalesOnline.co.uk (February 2015)


'Gorgeous of voice and sensual by nature are the Three Ladies (Camilla Roberts‚ Emma Carrington and Maire Flavin)'

Carmen‚ Welsh National Opera
Seen & Heard International (November 2014)


'Frasquita and Mercédès were well portrayed by Samantha Hay and Emma Carrington'

Carmen‚ Welsh National Opera (Birmingham)
Birmingham Post (November 2014)


'Frasquita (Amy Freston) and Mercédès (Emma Carrington) were sharply characterised and brightly sung'

Carmen‚ Welsh National Opera (Birmingham)
classical (November 2014)


'Emma Carrington’s Mercédès gave notice of a future Carmen'

Carmen‚ Welsh National Opera
Seen & Heard International (October 2014)


'There were elements which charmed the audience...such as the comic fortune-telling duet between Frasquita and Mercedes in Act Three'

Carmen‚ Welsh National Opera
What’s On Stage.com (October 2014)


'It’s testimony to the singers in the smaller roles‚ particularly Samantha Hay and Emma Carrington‚ packing pleasingly contrasting voices as Frasquita and Mercedes‚ that the ensembles like the Card Trio and quintet had more show-stopping quality than the familiar arias'

Carmen‚ Welsh National Opera
The Arts Desk.com (September 2014)


'...good support from Amy Freston (Frasquita)‚ Emma Carrington (Mercedes)'

Carmen‚ Welsh National Opera
WalesOnline.co.uk (September 2014)


'Amy Freston as Frasquita and Emma Carrington as Mercedes‚ provide some much needed verve'

La Colombe‚ Buxton Festival
Opera (September 2013)


'...and his servant Mazet‚ a travesti role impressively sung by Emma Carrington'

La Colombe‚ Buxton Festival
BachTrack.com (July 2013)


'Mazet‚ a trouser role for alto Emma Carrington... Carrington was excellent throughout the work‚ singing and acting with aplomb and squeezing as much humour as possible from her ample part'

La Colombe‚ Buxton Festival
Guardian (July 2013)


'The cast nevertheless give it their all...manfully supported by Emma Carrington as his mezzo male servant'

La Colombe‚ Buxton Festival
Observer on Sunday (July 2013)


'The disgruntled servant Mazat‚ a travesty role sung by Emma Carrington‚ delivers a misogynistic rant that is as ferocious as the tirades of Mephistopheles in Faust'

La Colombe‚ Buxton Festival
Planet Hugill (July 2013)


'Emma Carrington was brilliant in the travesty role of Mazet‚ convincing from the word go as a rather grubby servant boy‚ full of charm and cunning. A truly outstanding performance. She/he gets the operas opening aria as Mazet sings whilst feeding the live dove (here in a cage)'

La Colombe‚ Buxton Festival
Seen & Heard International (July 2013)


'In the travesti role of his servant Emma Carrington sang and acted with conviction'

La Colombe‚ Buxton Festival
The Arts Desk.com (July 2013)


'The whole production is splendidly played...but Emma Carrington steals the show with her comedic gifts as Mazet'

La Colombe‚ Buxton Festival
The Oxford Times (July 2013)


'All the recipients were women‚ including two in trouser roles. One of these was the mezzo-soprano Emma Carrington who in La Colombe made such a fine job of showing us the comic servant Mazet that it was a genuine surprise when this short-trousered urchin began to sing. Until the spoken dialogue came‚ when the female timbre of the voice could be recognised‚ I had thought (programme unconsulted) that we were listening to a counter-tenor'

La Colombe‚ Buxton Festival
The Times (July 2013)


'Good things too from Emma Carrington’s trousered servant Mazet'

Die Feen‚ Chelsea Opera Group‚ Queen Elizabeth Hall
Classical Source.com (March 2013)


'...Eva Ganizate and Emma Carrington complemented each other as respectively sympathetic and scheming fairies Zemina and Farzana'

Die Feen‚ Chelsea Opera Group‚ Queen Elizabeth Hall
Guardian (March 2013)


'All the principals did well...The dramatic mezzo of Emma Carrington‚ as Farzana‚ also caught the ear'

Die Feen‚ Chelsea Opera Group‚ Queen Elizabeth Hall
MusicOHM.com (March 2013)


'This concert performance from the Chelsea Opera Group‚ conducted by Dominic Wheeler‚ featured some stunning solo singing...As the fairies Farzana and Zemina‚ Emma Carrington’s rich mezzo-soprano contrasted well with Eva Ganizate’s soprano'

Die Feen‚ Chelsea Opera Group‚ Queen Elizabeth Hall
Opera Britannia.com (March 2013)


'My favourite characterization of the whole evening‚ however‚ came from Emma Carrington‚ who imbued the role of the meddling fairy Farzana with a degree of heavy irony that was delicious to behold. In addition‚ her mezzo is wonderfully dusky'

Die Feen‚ Chelsea Opera Group‚ Queen Elizabeth Hall
Seen & Heard International.com (March 2013)


'I absolutely adored (a word I rarely use in a review) the two fairies‚ Farzana and Zemina‚ they obviously had completely rehearsed and were wonderful. As Farzana‚ Emma Carrington’s facial expressions revealed the full gamut of her character’s emotions and hers was a totally engaging performance'

Die Feen‚ Chelsea Opera Group‚ Queen Elizabeth Hall
The Arts Desk.com (March 2013)


'...conviction proved to be all‚ as it was for a villainess fairy suddenly thrust to the fore as his enemy‚ resplendent mezzo Emma Carrington as devious Farzana'

Die Walküre‚ Opera North
Opera (August 2012)


'The Valkyries acquitted themselves confidently‚ not least in their final ensemble'

Die Walküre‚ Opera North in Salford
Whats On Stage.com (July 2012)


'It is the third act that confirms the success of the concert staging. The full nine strong chorus of Valkyries fill the stage and merge with the massive orchestra lead by conductor Richard Farnes in the magnificent "Ride of the Valkyries." This is the aural equivalent of starting with an earthquake and building to a climax. Heard live and benefiting from the superb Lowry acoustics it is an awesome experience and you just sit back‚ close your eyes and enjoy. Really‚ when the music and vocals are this good‚ elaborate staging is superfluous and might even be a distraction'

Die Walküre‚ Opera North
Whats On Stage.com (June 2012)


'A telling example of what is lost and what is gained vocally comes in the Ride of the Valkyries: with the singers lined up across the front of the stage the individual vocal lines come through with unusual clarity to exciting dramatic effect'

Die Walküre‚ Opera North
Opera Britannia (June 2012)


'Equally impressive were her eight Valkyrie sisters‚ all of whom had a ferocious presence‚ both vocally and in character. Together‚ Miriam Murphy‚ Katherine Broderick‚ Jennifer Johnston‚ Emma Carrington‚ Meeta Raval‚ Madeleine Shaw‚ Antonia Sotgiu and Catherine Hopper made a fiercely resonant sound which carried over the orchestra‚ even when they were playing with all their might'

Die Walküre‚ Opera North
Telegraph (June 2012)


'There was a crack team of Valkyries'

Die Walküre‚ Opera North
Times (June 2012)


'...the Valkyrie pack all held the stage well'

Maria Padilla‚ Chelsea Opera Group
capricciomusic (May 2012)


'Emma Carrington in the role of Francisca had some lovely moments and it is a much bigger voice than I previously supposed'

Maria Padilla‚ Chelsea Opera Group
MusicalCriticism.com (May 2012)


'Emma Carrington was a lively and committed Francisca'

Maria Padilla‚ Chelsea Opera Group
Opera Today (May 2012)


'Chelsea Opera Group fielded a strong cast with Nelly Miricioiu as Maria de Padilla‚ Marianne Cornetti as her sister Ines‚ Emma Carrington as Francisca'

Maria Padilla‚ Chelsea Opera Group
Seen and Heard (May 2012)


'Best of all was Emma Carrington who made quite an impact in the short role of Francisca; she has a wonderfully rich imposing sound that I look forward hearing in something more worthwhile sooner rather than later.'

Béatrice et Bénédict‚ Chelsea Opera Group
Jonathan Burton - Words and Music (November 2011)


'Emma Carrington brought her luxuriously velvety mezzo to Ursule; the duet at the end of Act I was the musical highlight of the evening. '

Béatrice et Bénédict‚ Chelsea Opera Group
Planet Hugill (November 2011)


'Carrington is possessed of an extremely striking contralto voice and I would love to have heard more of her.

Labin and Carrington’s voices combined superbly... All three women combined in another highlight‚ the trio in Act 2. Again the 3 voices blended beautifully and these two female ensemble pieces were the stand out moments in the performance.'

Rusalka‚ Grange Park Opera
Opera (August 2011)


'Emma Carrington contributed a genuinely scary Jezibaba: her elegance and hauteur made the session with the meat cleaver somehow more frightening‚ and she sang with passion and conviction'

Rusalka‚ Grange Park Opera
Telegraph (June 2011)


'Emma Carrington’s suave platinum blonde Witch'

Francesca da Rimini‚ Opera Holland Park
Musicweb International (August 2010)


'...the wonderful quartet of Francesca’s maid servants‚ Emma Carrington...'

Francesca da Rimini‚ Opera Holland Park
Opera Critic.com (August 2010)


'Classier performances were to be found among Francesca’s retinue. Gail Pearson‚ Madeleine Shaw‚ Emma Carrington and Anna Leese were an endearing and vocally sumptuous quartet as her four ladies-in-waiting‚ with Carrington’s warm mezzo and Leese’s honeyed soprano particularly memorable'

Francesca da Rimini‚ Opera Holland Park
Oxford Times (August 2010)


'Musical highlights include the delightful Act III spring song from Francesca’s ladies (Madeleine Shaw‚ Emma Carrington‚ Anna Leese and Gail Pearson)'

Francesca da Rimini‚ Opera Holland Park
Arts Desk.com (July 2010)


'Each of the singers - Madeline Shaw‚ Emma Carrington‚ Anna Leese and Gail Pearson deserves equal praise for coaxing the diversions to life...'

Katya Kabanova‚ Scottish Opera
Opera (November 2009)


'Emma Carrington made a vocally sumptuous Kabanicha'

Katya Kabanova‚ Scottish Opera
Financial Times (September 2009)


'Emma Carrington a vocally impressive but overly glamorous Kabanicha'

Katya Kabanova‚ Scottish Opera
Guardian (September 2009)


'As the malevolent Kabanicha‚ Emma Carrington may not have the authority of an older figure‚ but her arch sexiness is disturbing in its own way'

Katya Kabanova‚ Scottish Opera
Opera Britannia (September 2009)


'Emma Carrington as Kabanicha‚ the mother-in-law from hell‚ was deliciously vampish. Instead of the usual hectoring morality and outraged Hyacinth Bucket type creation we are all used to seeing‚ Miss Carrington’s Kabanicha was a touch seedy‚ morally bankrupt and personally dangerous. More Mae West than Mrs Bucket‚ her slow destruction of her daughter-in-law’s life was pretty vicious'

White‚ Scottish Opera
Financial Times (February 2009)


'Emma has taken full possession of her part and is acting with the harrowing weight of past loss: I couldn’t imagine the character any better than this'

Flight‚ British Youth Opera
Opera (November 2008)


'The soiltary Older Woman – a touching portrayal by Emma Carrington – faces the future with great equanimity'

Flight‚ British Youth Opera
Opera Now (November 2008)


'Emma Carrington’s Older Woman completely reinvented the Nuala Willis role with her lovely big alto and total stage-assurance'

La Calisto‚ Royal Academy of Music
Opera (July 2008)


'The mezzo Emma Carrington stood out in the dual role of the goddess Diana and as Giove disguised as Diana‚ projecting strongly'

Le Nozze di Figaro‚ Royal Aacademy of Music
Opera Now (April 2008)


'Emma Carrington was glorious as the pantomime-dame Marcellina and worth looking out for in the future'

Le Nozze di Figaro‚ Royal Aacademy of Music
Opera (January 2008)


'Emma Carrington’s Marcellina‚ which was astonishingly generous in tone and projected a vivacious stage presence'

Le Nozze di Figaro‚ Royal Aacademy of Music
Musical Pointers.com (November 2007)


'I especially admired Emma Carrington’s Marcellina'

Le Nozze di Figaro‚ Royal Aacademy of Music
Times (November 2007)


'Of other singers who caught my ear and eye: the Characterful and fruity voiced Marcellina of Emma Carrington'