Skip Navigation Links
  Sopranos: Anna Patalong - Reviews
ResuméReviewsDiscographyRepertoireMultimedia


Eugene Onegin‚ Dorset Opera Festival
Opera Magazine (October 2016)


'Making her role debut‚ Anna Patalong sang a gorgeous Tatyana‚ emotionally truthful‚ crowned by a heartfelt Letter Scene in which her veiled pianissimo was especially telling when she wonders if Onegin is her guardian angel. She visibly crumbled during Onegin’s rejection and seemed like a frightened rabbit when forced to dance with him at her name day party. '

Eugene Onegin‚ Dorset Opera Festival
The Express (August 2016)


'Patalong’s letter scene‚ where Tatyana ill-advisedly reveals her love for Onegin‚ was heart-wrenching. '

Eugene Onegin‚ Dorset Opera Festival
The Guardian / The Observer (August 2016)


'A terrific cast...Anna Patalong as a serious‚ intelligent‚ responsive Tatyana‚ compelling in voice and stage presence.'

Eugene Onegin‚ Dorset Opera Festival
The Spectator (August 2016)


'Anna Patalong‚ as Tatyana‚ was thrilling and moving throughout‚ with a beautifully warm timbre and a dramatic gift to match.'

La Bohème‚ Opera Holland Park
Opera Magazine (August 2016)


'Each of the six principals made a distinctive impression‚ above all vocally. Anna Patalong’s voice has gained substance while retaining its lyric charm‚ and she made a rich-toned‚ life-affirming Mimi.'

Eugene Onegin‚ Dorset Opera Festival
BachTrack.com (July 2016)


'Anna Patalong sang Tatyana in long‚ velvet phrases with a thrilling‚ powerful higher register full of anguish.'

Eugene Onegin‚ Dorset Opera Festival
Bournemouth Echo (July 2016)


'Anna Patalong is spellbinding as that woman‚ the central character of Tatyana... '

Eugene Onegin‚ Dorset Opera Festival
The Telegraph (July 2016)


'Outstanding was Anna Patalong‚ who made an enchanting Tatyana‚ warm-toned‚ shy yet ardent‚ glowing through the passion of the Letter Scene yet tender and vulnerable too‚ and nicely balanced against Tamara Gura’s ebullient Olga.'

La Bohème‚ Opera Holland Park
BachTrack.com (June 2016)


'Patalong sang a gorgeous Mimì‚ her creamy soprano flecked with luscious‚ dark tone. Long phrases caressed “Sì‚ mi chiamano Mim씂 claiming the sun’s first kiss of April gloriously. “D’onde lieta uscì” was exquisitely tender as she leaves Rodolfo to return to her little nest.'

La Bohème‚ Opera Holland Park
Boulezian (June 2016)


'Having a young cast of such considerable theatrical ability helps. Rarely has the sexual attraction between Mimì and Rodolfo seemed so evident. Anna Patalong offers a beautifully sung‚ clearly heartfelt performance.'

La Bohème‚ Opera Holland Park
Classical Source (June 2016)


'The principal roles benefit from having fresh young voices. At the centre of the action is Anna Patalong’s exquisitely sung Mimi; not a pallid waif but a real flesh and blood character with a great heart‚ and Patalong knows how to deliver the text as well.'

La Bohème‚ Opera Holland Park
Evening Standard (June 2016)


'Anna Patalong‚ meanwhile‚ charts Mimì’s death (the opera’s raison d’être) with vocal warmth'

La Bohème‚ Opera Holland Park
MusicOMH (June 2016)


'Anna Patalong reveals a pleasing combination of purity and colour as she renders Mimì’s lines with sensitivity and precision'

La Bohème‚ Opera Holland Park
Seen & Heard International (June 2016)


'Anna Patalong and Shaun Dixon both did a terrific job in the principal roles of Mimi and Rodolfo. Patalong’s captured the ardour and fragility of Mimi to perfection. She has a sumptuous‚ richly coloured voice and she brought out the dark timbres of the vocal line in a striking way. There was some gorgeous shaping of the line in Si mi chiamano Mimi while Act 3’s Donde lieta usci was exquisitely tender'

La Bohème‚ Opera Holland Park
The Arts Desk (June 2016)


'Because it’s really all about the voices here. Soprano Anna Patalong makes a delicious Mimì. There are no sharp edges on a voice that pours itself generously into every phrase‚ and a lovely darkness to the tone colouring that suit her unusually sober‚ serious heroine.'

La Bohème‚ Opera Holland Park
The Guardian (June 2016)


'Patalong sounds utterly gorgeous'

La Bohème‚ Opera Holland Park
The Stage (June 2016)


'Anna Patalong’s touching‚ liquid-voiced Mimi‚ Shaun Dixon’s vocally and physically dynamic Rodolfo‚ Elin Pritchard’s personality-girl Musetta and Andrew Finden’s thoughtful Marcello make a formidable central quartet.'

La Bohème‚ Opera Holland Park
What’sOnStage.com (June 2016)


'it stars two young sopranos‚ Anna Patalong and Elin Pritchard‚ who are quite the crème de la crème. Small wonder it’s a triumph...Patalong breaks your heart. She’s a paragon of soprano sweetness and the vulnerability of her immortal aria "Si‚ mi chiamano Mimì" will crease you in two. '

Iolanta‚ Opera National de Paris
BachTrack.com (March 2016)


'Anna Patalong made a notable Paris debut as Brigitta.'

Das Rheingold‚ Ruhrtriennale
Opera (January 2016)


'Anna Patalong‚ Dorottya Lang and Jurgita Adamonyte well matched as the Rhinemaidens'

Turandot‚ Northern Ireland Opera
Opera (January 2016)


'Anna Patalong’s Liu was the best sung‚ most rounded (and‚ it should be said‚ only emotion-inducing) performance of the evening'

Turandot‚ Northern Ireland Opera
BachTrack.com (November 2015)


'More consistently appealing was Anna Patalong’s lightly nuanced soprano voice as Liù'

Turandot‚ Northern Ireland Opera
Belfast Telegraph (November 2015)


'...there were moments from the leading soloists which were memorable —especially perhaps Anna Patalong as Liu in her final aria'

Turandot‚ Northern Ireland Opera
Guardian (November 2015)


'Anna Patalong makes a touchingly sensitive Liù'

Turandot‚ Northern Ireland Opera
Opera Traveller.com (November 2015)


'Musically‚ it was given a highly creditable performance by artists who gave absolutely everything of themselves to provide an overwhelming theatrical experience...Anna Patalong was a superb Liù who would certainly be at home in any major lyric theatre. The sound is elegant and velvety‚ absolutely even throughout the range‚ and she floated the end of "signore ascolta" wonderfully'

Turandot‚ Northern Ireland Opera
OperaJournal.com (November 2015)


'Anna Patalong an impassioned Liù'

Turandot‚ Northern Ireland Opera
Spectator (November 2015)


'Only Anna Patalong’s ardent‚ gleaming Liù is presented as a sympathetic figure'

Turandot‚ Northern Ireland Opera
Sunday Times (November 2015)


'...radiantly sung...'

Turandot‚ Northern Ireland Opera
Telegraph (November 2015)


'Anna Patalong’s Liu warmed up to offer a sweet “Tu che di gel” before topping herself'

Turandot‚ Northern Ireland Opera
The Stage (November 2015)


'Anna Patalong as Liu created a rare lyrical and expressive high point in her Act II aria'

Turandot‚ Northern Ireland Opera
The Times (November 2015)


'Let’s award stars to NI Opera’s superb chorus — both adults and children — and‚ particularly‚ to Anna Patalong’s meltingly sung Liu‚ the flutter of compassion in a queasy evening'

Das Rheingold‚ Ruhrtriennale
Formalhaut (September 2015)


'...les trois filles du Rhin‚ Anna Patalong‚ Dorottya Láng et Jurgita Adamonyte‚ sont toutes trois jeunes‚ charnelles et enjôleuses car elles ont une profondeur vocale sensuelle et présente /// ...The three Rheinmaidens Anna Patalong ‚ Dorottya Láng and Jurgita Adamonyte are all young‚ carnal and seductive‚ with a vocal depth that is sensual and present'

Das Rheingold‚ Ruhrtriennale
Magazin Klassik.com (September 2015)


'Anna Patalong als Woglinde‚ Dorottya Láng als Wellgunde und Jurgita Adamonyté als Floßhilde sind drei sittsam gekleidete‚ klangschöne Rheintöchter /// Anna Patalong as Woglinde‚ Dorottya Láng as Wellgunde and Jurgita Adamonyté as Floßhilde are three demurely dressed‚ beautiful sounding Rhine Maidens'

Das Rheingold‚ Ruhrtriennale
Online Musik Magazin.de (September 2015)


'Anna Patalong‚ Dorottya Láng und Jurgita Adamonyte gefallen als Rheintöchter mit harmonischem Dreiklang /// Anna Patalong‚ Dorottya Láng and Jurgita Adamonyte were a harmonious trio of Rhine Maidens'

Gianni Schicchi (Il Trittico) Opera Holland Park
BachTrack.com (June 2015)


'As Lauretta‚ Anna Patalong doesn’t get much to do (she’s exiled to the terrace feeding an already overfed pet bird for most of the proceedings)‚ but she gets the outstanding aria of the evening‚ “O mio babbino caro”. It may be only a short aria‚ but she gave us two minutes of romantic operatic bliss'

Gianni Schicchi (Il Trittico) Opera Holland Park
Classical Source.com (June 2015)


'Anna Patalong seized her two-minute moment of glory with a ravishingly sung “O mio babbino caro”'

Gianni Schicchi (Il Trittico) Opera Holland Park
Guardian (June 2015)


'…solid ensemble work from the entire company‚ with Richard Burkhard delivering a confident Schicchi and Anna Patalong seizing her lyrical moment with his daughter Lauretta’s famous aria'

Gianni Schicchi (Il Trittico) Opera Holland Park
MarkRonan.com (June 2015)


'...fine performances from the whole cast made it a joy to watch…Lauretta was beautifully sung by Anna Patalong‚ who launched into that glorious aria “O mio babbino caro” very naturally as she reached out to stop her father leaving (Ms Patalong will be heard later this month in the role of Suor Angelica)'

Gianni Schicchi (Il Trittico) Opera Holland Park
MusicOMH.com (June 2015)


'Anna Patalong as Lauretta gives a moving rendition of ‘O mio babbino caro’ as her beautifully soaring voice combines with immaculate phrasing'

Gianni Schicchi (Il Trittico) Opera Holland Park
Opera Britannia (June 2015)


'The role of Lauretta‚ Gianni Schicchi’s daughter‚ seems a thankless one to me. Apart from a few lines‚ she has to sing one of the operas best known and most loved arias‚ even by those who are not opera afficianados. Talk about a hiding to nothing. Undaunted‚ the young soprano‚ Anna Patalong‚ delivered a golden "O mio babbino caro"‚ and is clearly one to watch for the future'

Gianni Schicchi (Il Trittico) Opera Holland Park
Opera Today.com (June 2015)


'Anna Patalong’s beautifully sung Lauretta headed a cast of true depth in that final instalment'

Gianni Schicchi (Il Trittico) Opera Holland Park
Planet Hugill.com (June 2015)


'As his daughter‚ Lauretta‚ Anna Patalong was a complete delight with just the right amount of charm without being too winsome. "O mio babbino caro" was not only beautifully sung‚ but was incredibly funny in the way she completely stopped the action. And her duet with James Edwards brought the evening to a lovely conclusion'

Gianni Schicchi (Il Trittico) Opera Holland Park
Seen & Heard International (June 2015)


'Anna Patalong was strong as Schicchi’s Lauretta‚ fittingly gushing without overdoing the mawkishness. ‘O mio babbino caro’ brought the mad-cap mayhem to a standstill in a way which was both surreal and totally entrancing. Patalong’s bright‚ pure lyric soprano interjected a moment of pure romantic rapture; it seemed to belong to another world'

Gianni Schicchi (Il Trittico) Opera Holland Park
Sunday Express (June 2015)


'Anna Patalong as Schicchi’s daughter Lauretta sings “O mio babbino caro” charmingly'

Gianni Schicchi (Il Trittico) Opera Holland Park
The Stage (June 2015)


'Anna Patalong reprises her sweet-toned Lauretta'

Gianni Schicchi (Il Trittico) Opera Holland Park
The Times (June 2015)


'Anna Patalong’s Lauretta soars through "O mio babbino"'

Gianni Schicchi (Il Trittico) Opera Holland Park
What’s On Stage.com (June 2015)


'...an irresistible Anna Patalong as Lauretta‚ reprising her tender account of "O mio babbino caro"'

Der Freischütz‚ Opéra de Limoges
Opéra Magazine (May 2015)


'Heureusement‚ Anna Patalong‚ ravissante et pétillante‚ est très satisfaisante‚ prêtant à Ännchen une voix certes lumineuse‚ mais au métal robuste‚ loin des soubrettes qu’on distribue dans ce rôle. A elle seule‚ la soprano britannique illumine ce ténébreux Freischütz‚ dont l’indéniable impact est atténué par de multiples petites faiblesses /// Fortunately‚ Anna Patalong‚ delightful and sparkling‚ is highly satisfactory‚ lending to Ännchen certainly a bright voice‚ but with a sturdy metal‚ far from the soubrettes usually cast in this role. One her own‚ the British soprano brightens this dark Freischütz‚ whose undeniable impact is mitigated by numerous small weaknesses'

Der Freischütz‚ Opéra de Limoges
EspiritMusique.fr (March 2015)


'Anna Patalong‚ excelle dans le rôle d’Ännchen‚ sublimant chaque air grâce à son timbre plein /// Anna Patalong excels in the role of Ännchen‚ each aria sublime thanks to her full timbre'

Der Freischütz‚ Opéra de Limoges
Forum Opera.com (March 2015)


'Anna Patalong est l’un des meilleurs éléments de la distribution vocale‚ avec un timbre plein et charnu /// Anna Patalong is one of the best vocal elements of the cast‚ with a clear rich timbre'

Der Freischütz‚ Opéra de Limoges
ODB-Opera.com (March 2015)


'Anna Patalong (Ännchen) charme par un timbre frais‚ lumineux et charnu // Anna Patalong (Ännchen) charm with a fresh tone‚ sparkling and rich'

Der Freischütz‚ Opéra de Limoges
ResMusica.com (March 2015)


'...la délicieuse Ännchen d’Anna Patalong‚ au timbre plus corsé que celui de sa soeur// ...the delicious Ännchen Anna Patalong‚ a fuller bodied tone than her sister'

Preview of OHP 2016 season
BachTrack (February 2015)


'Young singers are encouraged‚ developed and given the chance to blossom. Take last year. I watched one of the final performances of Il trittico‚ where young soprano Anna Patalong was given the opportunity to step into Duprels’ shoes as Suor Angelica. To see the pride – and the tears – on James Clutton’s face at the second interval demonstrated just how fervently the directors believe in their artists. This summer‚ Patalong stars as Mimì in La bohème… but not before making her Paris Opéra debut in March. Holland Park has a habit for spotting real talent.'

La Bohème‚ Theater Lübeck
Der Neue Merker (October 2014)


'...zwei herausragende Gäste: Die Britin Anna Patalong als Mimi und der Italiener Gabriele Mangione als Rudolfo. Sie verfügt über einen breit angelegten Sopran‚ und ihre Stimme kennt auch in den Höhen keine Probleme /// ...two distinguished guests: The Briton Anna Patalong as Mimi and the Italian Gabriele Mangione as Rudolfo. She has a wide-ranging soprano‚ her voice soaring the heights effortlessly'

La Bohème‚ Theater Lübeck
HL-live.de (October 2014)


'Eine große Leistung lieferte die Britin Anna Patalong als Mimi. Strahlend schön ihr Sopran‚ lupenrein‚ im Schluss des ersten Bildes bis zum hohen C aufsteigend /// Anna Patalong delivered a great performance; her beautifully radiant soprano rising flawlessly to the high C in the first Act'

La Bohème‚ Theater Lübeck
Lübecker Nachrichten (October 2014)


'Anna Patalong als Mimi ist ein höhensicherer Sopran der auch beim hohen C keine Schärfe hören lässt. Darstellerisch ist sie überzeugend in ihrer Zurückhaltung und ihrer fast stummen Art‚ ihre Zuneigung zu Rudolfo zu zeigen /// Anna Patalong who plays Mimi is a high soprano‚ secure even at High C‚ which she reaches effortlessly. Her performance is convincing in its reserve and the quiet way she shows her affection for Rodolfo'

La Bohème‚ Theater Lübeck
NMZonline.de (October 2014)


'Musikalisch bot Lübeck zudem einmal mehr eine uneingeschränkt große Leistung. Die Mimi sang die junge Anna Patalong. Die Stimme der Britin besitzt ein weiches‚ rundes Timbre‚ ist selbst in den Spitzen nie scharf und wird von ihr dynamisch fein schattiert /// Musically once again Lübeck offered a great performance. Mimi was sung by the young Anna Patalong. Her voice has a soft‚ round timbre; finely shaded and dynamic‚ even in the sharp peaks'

The Jacobin‚ Buxton Festival Opera
Opera (September 2014)


'Anna Patalong was a fine Terinka'

The Jacobin‚ Buxton Festival Opera
BachTrack.com (July 2014)


'Anna Patalong’s bright soprano and easy charm made her the perfect Terinka. Their Act I duet‚ accompanied by violin obbligato‚ was tenderly sung. Patalong would surely make a lovely Marenka in The Bartered Bride'

The Jacobin‚ Buxton Festival Opera
Guardian (July 2014)


'Anna Patalong’s feisty Terinka'

The Jacobin‚ Buxton Festival Opera
MarkRonan.com (July 2014)


'...the casting is superb...Anna Patalong as his daughter Terinka sang a beautiful soliloquy in Act II‚ and her duet with the excellent Jiri of Matthew Newlin was full of warmth'

The Jacobin‚ Buxton Festival Opera
Planet Hugill.com (July 2014)


'...the young lovers were eager and new. Anna Patalong made a delightful Terinka‚ conflicted by her wish to satisfy her father (who favours the match with Filip) and by her love for Jiri. Terinka is very much a role like Marenka in The Bartered Bride and Patalong brought just the right combination of lyricism and intensity to it. Matthew Newlin made a finely impassioned and impulsive Jiri‚ with just the right amount of charm. The two have a couple of lovely lyrical duets‚ in which Patalong and Newlin were delightfully rapturous. They brought a nice freshness to the young lovers‚ which acted as a suitable counterpoint to the darker elements of the plot'

The Jacobin‚ Buxton Festival Opera
Spectator (July 2014)


'It’s a fine ensemble effort from Buxton’s cast‚ too‚ with Anna Patalong’s charming Terinka standing out'

The Jacobin‚ Buxton Festival Opera
Telegraph (July 2014)


'I was equally charmed by Anna Patalong and Matthew Newlin as the courting peasants...'

The Jacobin‚ Buxton Festival Opera
The Arts Desk.com (July 2014)


'There is also an on-going love tangle between Terinka‚ daughter of Benda the music master at the village school‚ and local lad Jirí‚ which gives rise to some memorable duets between Anna Patalong and Matthew Newlin'

The Jacobin‚ Buxton Festival Opera
The Times (July 2014)


'...the young yet ripe soprano Anna Patalong a feisty Terinka'

The Magic Flute‚ English Touring Opera
Opera (May 2014)


'Anna Patalong’s forthright‚ unvictimized Pamina‚ whose melting ’Ach‚ ich fühl’s’ really hit the spot'

The Magic Flute‚ English National Opera
Telegraph (March 2014)


'Anna Patalong stands out as a warm and smooth-toned Pamina‚ singing a tender “Ach‚ ich fühls”'

The Magic Flute‚ English Touring Opera
BachTrack.com (March 2014)


'Anna Patalong’s heartbroken Pamina gave us moments of spellbinding beauty‚ rich soft singing in her laments‚ under the mistaken impression that Tamino has turned against her'

The Magic Flute‚ English Touring Opera
Planet Hugill.com (March 2014)


'Pamina (Anna Patalong who stole the show)...Anna Patalong was outstanding as Pamina‚ taking the audience along with her as she was battered by hopelessness and restored to perfect happiness. Her impassioned smooth soprano voice also showed its versatility in the fast moving more ornamented passages'

The Magic Flute‚ English Touring Opera
The Stage (March 2014)


'ETO’s musical standards have surely never been higher than on the present tour...Vocally‚ too‚ this is an impressive evening from first to last; especially notable Anna Patalong’s pure lyricism as Pamina'

The Magic Flute‚ English Touring Opera
What’s On Stage (March 2014)


'Anna Patalong’s Pamina was sweetly sung‚ vulnerable yet poised'

L’Elisir d’amore‚ Northern Ireland Opera
Opera (December 2013)


'...Anna Patalong harnessed her fresh‚ fruity soprano vibrantly‚ and was a winning stage presence'

Parsifal‚ Royal Opera House
The Arts Desk.com (December 2013)


'the Flowermaidens...there are some promising voices here in the mix‚ chiefly Anna Devin‚ Celine Byrne and Anna Patalong'

L’Elisir d’amore‚ Northern Ireland Opera
CandidChaos.co.uk (October 2013)


'Anna Patalong shone as the beautiful yet haughty Adina making us pray for her to fall for the charms of Nemorino'

L’Elisir d’amore‚ Northern Ireland Opera
The Irish Times (October 2013)


'Soprano Anna Patalong‚ as Adina the college teacher‚ brings an easy dexterity‚ with a richness of tone that is always a delight'

L’Elisir d’amore‚ Northern Ireland Opera
The Sunday Times (October 2013)


'Anne Patalong’s prim Adina turns vamp when she lets down her hair'

La Finta Giardiniera‚ Buxton Festival
Guardian (July 2013)


'Top-quality standards‚ too‚ are to be found among the seven principals...Anna Patalong the determined Latina maid Serpetta'

La Finta Giardiniera‚ Buxton Festival
Planet Hugill (July 2013)


'Anna Patalong was a complete delight at Serpetta‚ the housekeeper‚ who was definitely Despina on acid. Patalong is one of those stage creatures who are eminently watchable whether or not they are part of the main action. And she sings too'

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


'Best of all was Anna Patalong as Serpetta‚ Don Anchise’s housekeeper. Her acting matched her singing'

The Triumph of Time and Truth‚Händel-Festspiele des Badischen Staatstheaters‚ Karlsruhe
Badische Zeitung.de (February 2013)


'Es lag vor allem an dem auch darstellerisch vorzüglichen Solistenensemble‚ dass die Händel-Barry-Produktion dennoch zu einem umjubelten Erfolg wurde...Die in ein pastellfarbenes Sekretärinnenkostüm gekleidete Schönheit (mit glockenhellem Sopran: Anna Patalong)///It’s due mainly to the performances of the exquisite soloist ensemble‚ that the production of Handel-Barry was an acclaimed success...Beauty as a pastel-costumed Secretary (bell-bright soprano: Anna Patalong)'

The Triumph of Time and Truth‚Händel-Festspiele des Badischen Staatstheaters‚ Karlsruhe
Giornale della musica.it (February 2013)


'Da elogiare in blocco il cast händeliano‚ guidato dai musicalmente seducenti Patalong... /// To commend the entire Handel cast‚ led by the musically seductive Patalong...'

The Triumph of Time and Truth‚Händel-Festspiele des Badischen Staatstheaters‚ Karlsruhe
Pforzheimer Zeitung.de (February 2013)


'Anna Patalong sang die Schönheit mit einer wunderbaren Sopranstimme‚ die geschmeidig durch virtuose Koloraturen und Verzierungen glitt /// Anna Patalong sang the role of Beauty with a beautiful soprano voice‚ which glided smoothly through virtuoso coloratura and ornamentation'

The Triumph of Time and Truth‚Händel-Festspiele des Badischen Staatstheaters‚ Karlsruhe
Südkurier.com (February 2013)


'Das Solistenensemble (Joshua Bloom‚ William Purefoy‚ Anna Patalong‚ Stefanie Schaefer‚ Sebastian Kohlhepp) sang auf Festspielniveau und schlug dramatische Funken aus einem spröden Text /// The soloists (Joshua Bloom‚ William Purefoy‚ Anna Patalong‚ Stefanie Schaefer‚ Sebastian Kohlhepp) sang at the festival level and struck sparks from a brittle dramatic text'

Don Giovanni‚ Mid Wales Opera
Seen & Heard International (October 2012)


'Anna Patalong is a convincing Zerlina – a little bit common‚ you might say – but her singing is bright and lively even when massaging her husband’s bruises'

Don Giovanni‚ Mid Wales Opera
Birmingham Post (September 2012)


'Anna Patalong’s beautifully sung Zerlina (in a bridal gown and pink boots‚ which she later swaps for the tightest of miniskirts and grapples sexily with Masetto) goes beyond the young innocent to suggest a feisty bit of stuff who really knows her way around'

Don Giovanni‚ Mid Wales Opera
Guardian (September 2012)


'The women shine brightest: Catrin Aur’s Anna‚ Helen Sherman’s Elvira and especially Anna Patalong’s sparky Zerlina are stylishly sung'

Don Giovanni‚ Mid Wales Opera
Times (September 2012)


'All three women — Helen Sherman as Elvira‚ Catrin Aur as Anna and Anna Patalong as Zerlina — are persuasive vocally and dramatically'

Gianni Schicchi‚ Opera Holland Park
Opera (September 2012)


'Jung Soo Yun’s Rinnucio and Anna Patalong’s Lauretta got maximum mileage out of their duetting'

Cendrillon‚ Blackheath Halls
Independent on Sunday (July 2012)


'Fairies aside‚ the evening belonged to soprano Anna Patalong‚ Cinderella here‚ Lauretta in Holland Park’s recent Gianni Schicchi‚ a tender and alluring voice'

Gianni Schicchi‚ Opera Holland Park
Mark Ronan Wordpress (July 2012)


'As his beloved Lauretta‚ Anna Patalong was delightful and her O mio babbino caro emerged entirely naturally as she blocked her father’s way to stop him walking out'

Gianni Schicchi‚ Opera Holland Park
BachTrack (June 2012)


'Anna Patalong (Lauretta) interpreted her famous aria ‘O mio babbino caro’ with a touching and beautiful legato'

Gianni Schicchi‚ Opera Holland Park
Classical Source (June 2012)


' How could anyone resist Anna Patalong’s sweet and imploring entreaties? ...the eye- and ear-catching‚ very persuasive Patalong'

Gianni Schicchi‚ Opera Holland Park
Intermezzo (June 2012)


'Anna Patalong delivered the showstopping O mio babbino caro with winning sweetness'

Gianni Schicchi‚ Opera Holland Park
Metro (June 2012)


'Anna Patalong is terrific as his daughter Lauretta'

Gianni Schicchi‚ Opera Holland Park
Music OMH (June 2012)


'Never before has it been made quite so clear that ’Oh mio babbino caro’ is really nothing to do with devotion and everything to do with emotional blackmail. This is mainly down to Anna Patalong’s excellent performance as Lauretta'

Gianni Schicchi‚ Opera Holland Park
Opera Britannia (June 2012)


'...the inspired eloquence of “O mio babbino caro” – winningly sung here by the Lauretta of Anna Patalong – bespeaking in one glance the entire emotional undercurrent of the piece... one of the standouts of the evening... It is never easy to tackle a piece of music famous enough to carry high expectations from every member of the audience‚ and her “O mio babbino caro” was sweet and radiant. The final scene finds the set rolling back to reveal the two young lovers embracing on a high parapet overlooking the Duomo and the spires of Florence‚ a perfect ending to an enchanting performance'

Gianni Schicchi‚ Opera Holland Park
Seen and Heard (June 2012)


'Anna Patalong‚ a recent Guildhall graduate‚ threatened to steal the show with the most famous (oh so brief) aria‚ “O mio babbino caro”'

Gianni Schicchi‚ Opera Holland Park
Telegraph (June 2012)


'Anna Patalong sang O mio babbino caro prettily'

Gianni Schicchi‚ Opera Holland Park
The Stage (June 2012)


'...well served by Anna Patalong’s appealingly sung Lauretta'

Gianni Schicchi‚ Opera Holland Park
The Times (June 2012)


'Anna Patalong and Jung Soo Yun seizing their lyrical opportunities as the young lovers'

Gianni Schicchi‚ Opera Holland Park
What’s On Stage (June 2012)


'The gorgeous‚ Chianti soprano of Anna Patalong despatched Puccini’s show-stopper with lyrical beauty'

Dialogues des Carmélites‚ Guildhall School
BachTrack (June 2011)


'Anna Patalong gave us an intense study of Blanche’s character'

Dialogues des Carmélites‚ Guildhall School
OrpheusComplex (June 2011)


'the star of the show is undoubtedly Anna Patalong as Blanche. She has an astonishingly mature and sophisticated voice. It has richness and timbral complexity that puts all of her colleagues in the shade. She was as close to note perfect as any opera house could require. And she can really act. Remember the name'

Dialogues des Carmélites‚ Guildhall School
The Guardian (June 2011)


'Outstanding. The hugely talented Anna Patalong‚ Sophie Junker and Sylvie Bedouelle led the admirable ensemble'

Dialogues des Carmélites‚ Guildhall School
What’s On Stage (June 2011)


'...sung with a beautiful purity of tone and line by soprano Anna Patalong'

Rita‚ Guildhall School
BachTrack (June 2011)


'Anna Patalong as Rita gave a consummate performance – a soprano vocally nimble‚ vivacious and suitably exotic looking‚ with her singing apparently effortless and always at the service of her acting'

Rita‚ Guildhall School
Opera Britannia (June 2011)


'Anna Patalong sang Rita with relish‚ her crisp‚ light soprano hitting the high notes with pin-point accuracy... a most promising performance. I see she’s singing Lauretta at Holland Park next year‚ which should suit her down to the ground'

Dialogues des Carmélites‚ Guildhall School
The Arts Desk (March 2011)


'Anna Patalong commands the lyric and neurotic impulses of fear-stricken Blanche with even tone throughout the range'

Dialogues des Carmélites‚ Guildhall School
The Times (March 2011)


'The bright flare at the top of Anna Patalong’s soprano gives voice to the highly-strung nerves of Blanche'

La Boheme‚ BYO
The Times (September 2010)


'Anna Patalong gives Musetta her due sassiness‚ especially when flashing her pins in every which way'

George Crumb - Ancient Voices of Children‚ Barbican
Financial Times (December 2009)


'a Lorca-inspired phonetic fantasia ravishingly sung by Anna Patalong'

George Crumb - Ancient Voices of Children‚ Barbican
The Arts Desk (December 2009)


'the poise of Anna Patalong‚ a lyric soprano surely destined for great things... gave a performance of surpassing beauty'

George Crumb - Ancient Voices of Children‚ Barbican
The Independent (December 2009)


'soprano Anna Patalong’s command of Lorca’s strident and sensual lyrics was astonishing‚ the music utterly compelling'