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  Sopranos: Daisy Brown - Reviews

The Abduction from the Seraglio‚ The Grange Festival
Opera Magazine (September 2018)

'As her servant Blonde‚ inventively avoiding Osmin’s boo-hiss lechery‚ Daisy Brown managed both to send up and to support her mistress. Her light‚ lyrical singing simmered with Susanna – like mischief. '

The Abduction from the Seraglio‚ The Grange Festival (June 2018)

' Daisy Brown was a pretty-voiced Blonde‚ with crystal clear top notes.'

The Abduction from the Seraglio‚ The Grange Festival
Mark Ronan Theatre Reviews (June 2018)

'...Daisy Brown an absolute delight as her servant Blonde.'

The Abduction from the Seraglio‚ The Grange Festival
Planet Hugill (June 2018)

'As Blonde‚ Daisy Brown made a wonderful contrast with Kiandra Howarth’s Konstanze. Pert‚ lively and characterful‚ Brown sang with pin-sharp accuracy and really charmed‚ as well as giving as good as she got in her scene with Jonathan Lemalu’s Osmin.'

The Abduction from the Seraglio‚ The Grange Festival
The Arts Desk (June 2018)

'There was perhaps more light and shade in Daisy Brown’s singing as Blonde‚ and the Blonde-Pedrillo relationship was more convincingly romantic than Konstanze-Belmonte….. The four lovers achieved energetic counterpoint in their quarrel and a lovely vocal blend in their reconciliation.'

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

'Daisy Brown had an ideal voice for the opening acts of the opera‚ a slimline lyric coloratura‚ and a stage presence which emphasised the character’s naivety and innocence‚ her lack of understanding of the emotions of the real world. She made an appealing Snow Maiden‚ and sang the role with careful beauty‚ great charm and a sense of poignant naivety‚ In the final act‚ where in her desperation to learn to love the Snow Maiden calls on her mother and‚ on learning to love‚ dies‚ Daisy Brown gave the role her all but wisely without straining her voice. She concentrated on ease and fluency‚ but ideally the role needed a little more. That will come‚ as Brown’s voice developed and what she lacked in amplitude she gave in commitment. I don’t usually report on a cover performance in such detail‚ but felt that Brown’s considerable achievement needed coverage.'

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

'Daisy Brown stepped gallantly into the title role at short notice and won many admirers‚ besides Mizgir. Her light soprano suits the early coloratura‚ and her dying aria is poignant‚ overcoming the wearing of a yellow tabard more apt for coffee-grinding.'

Sister. Born Mad
The Blog of Theatre Things (September 2016)

'The identically dressed Daisy Brown and Nia Coleman are in perfect harmony throughout – and not just when they’re singing (beautifully)‚ but also in their movements and even the way they speak.'

Sister‚ Born Mad
A Younger Theatre (September 2016)

'Daisy Brown and Nia Coleman alternate between the different sisters highlighted in this piece. They easily draw in the audience with warm smiles and a teensy bit of bashfulness that speaks to how the play’s subjects must have felt when originally being interviewed for these stories. The anguish‚ worry‚ and anger the two bring to the table later during the show is just as believable and relatable as well‚ and it’s quite easy to feel connected to these two and believe the words they’re speaking are their own...The composer‚ Alex Groves‚ must be commended for the surreal and otherworldly songs he had Brown and Coleman sing and create on stage as they recorded and replayed their stunning voices in front of us.

Sister‚ Born Mad
Carn’s Theatre Passion (September 2016)

'Brown‚ Coleman and Groves perform a tour de force of a performance‚ apparently effortlessly synching sound‚ loops‚ samples and live vocals‚ their proficiency speaking of many weeks of rehearsal and development.'

Sister‚ Born Mad
London City Nights (September 2016)

'...taking the form of an hour long sound collage led by two fantastic performers‚ Daisy Brown and Nia Coleman...Brown and Coleman sing and act in perfect synchronisation‚ every micro-expression and verbal tic replicated exactly. It’s like watching a high-wire act - the slightest wobble and the whole thing falls apart. But the duo never put a foot wrong‚ displaying a faintly unnerving confidence in each other’s abilities and their own I shudder to think how long it must have taken to rehearse a thing like this‚ not to mention the sheer commitment and concentration required to sustain perfection for an hour...This is an experience like little else I’ve seen in theatres of late. It’s sonically‚ visually and textually beautiful; able to make you laugh and feel in equal measure; and Daisy Brown and Nia Coleman’s performance skills are through the goddamn roof. '

The Queen of Spades‚ Opera Holland Park
Opera Britannia (August 2016)

'She also had plenty of fun in the tastefully staged Pastorale along with Daisy Brown’s prettily sung Prilepa. Brown also doubled up as Liza’s maid Masha and led the spirited folk dance. '

L’elisir d’amore‚ Opera North
British Theatre Guide (March 2016)

'Brown and Banfield sing and act to a very high standard—we believe in their destiny to be a couple (and a good-looking couple at that‚ which cannot go amiss among adolescent audiences).

All three show an easy and adept engagement with an audience at such close quarters.'

Jenufa‚ Opera North
Opera (January 2016)

'Daisy Brown made a breezy Karolka'

Alice’s Adventures in Wonderland‚ OHP at Linbury Theatre
The Stage (November 2015)

'There is not a weak link in the cast‚ in terms either of singing or acting. Director Martin Duncan has clearly worked hard with them to project an ideal balance of immediacy and picture-book fantasy. Even the smaller roles‚ such as Samantha Price’s and Daisy Brown’s Tweedledee and Tweedledum‚ show an impressive skill in physical comedy'

Carmen‚ Nevill Holt
Opera (September 2015)

'The small roles were all well done...Daisy Brown (Frasquita)'

Carmen‚ Nevill Holt
The Times (June 2015)

'The small orchestra sound fine under Chalmers’s tidy baton and the supporting cast is decent‚ with Daisy Brown’s Frasquita making the strongest impression from the ensemble'

Le Nozze di Figaro‚ Opera Vera
Opera Now (April 2015)

'Daisy Brown was a brilliant Susanna‚ a bag of sly wit and intelligence'

The marriage of Figaro‚ Opera Vera
Fringe (February 2015)

'...soprano Daisy Brown sweeps onto stage as the maid Susanna and proceeds to thread a piece of cotton straight through the eye of a needle – no mean feat for the steadiest of hands‚ let alone someone embarking on the lead role of a challenging‚ three-hour opera. Her composure sets the tone for this supremely accomplished performance...Daisy Brown is a no-nonsense Susanna‚ confident and coquettish with a warm twinkle in her eye and vocally au fait with Mozart’s pacy Italianate melodies. The chemistry between her and the equally-talented Peter Brooke’s Figaro is endearing'

Carmen‚ Mid Wales Opera
Opera (November 2014)

'...well supported by Daisy Brown’s vibrant Frasquita‚ acting with her eyes as well as her voice'

Carmen‚ Mid Wales Opera (October 2014)

'Daisy Brown and Marta Fontanals-Simmons presented the roles of Frasquita and Mercedes in this interpretation perfectly'

Carmen‚ Mid Wales Opera
The Arts (September 2014)

'The best things in it are intelligent touches in the directing of individual numbers: the card-reading trio (with Daisy Brown and Marta Fontanals-Simmons)'

Carmen‚ Mid Wales Opera
What’s On (September 2014)

'...there is much to praise in this Carmen...Vocally Marta Fontanals-Simmons (Mercedes) and Daisy Brown (Frasquita) blend beautifully with Helen Sherman (Carmen)'

Orfeo ed Euridice‚ Buxton Festival (July 2014)

'Daisy Brown was a fabulous Amore – a sassy‚ sexy Cupid who emerges from the chorus as one of Orfeo’s groupies...Brown constantly impressed and she sang “Gli sguardi trattieni” with light‚ bright tone‚ whilst merrily scattering Eurydice’s ashes from the urn'

Orfeo ed Euridice‚ Buxton Festival
Financial Times (July 2014)

'Daisy Brown justifies the enlarged role given here to Amore'

Orfeo ed Euridice‚ Buxton Festival
Guardian (July 2014)

'Amore is entrancingly sung by soprano Daisy Brown'

Orfeo ed Euridice‚ Buxton Festival (July 2014)

'Amore...was sung with striking beauty and lovely purity of tone by Daisy Brown'

Orfeo ed Euridice‚ Buxton Festival
The Arts (July 2014)

'Rising star Daisy Brown is impressive as Amore'

Orfeo ed Euridice‚ Buxton Festival
The Spectator (July 2014)

'Amore is sung with real charm and ping by Daisy Brown'

Orfeo ed Euridice‚ Buxton Festival
The Times (July 2014)

'Daisy Brown...proved such a delight as Amore'

Kiss Me‚ Figaro! The Merry Opera Company
Bargain Theatre Land (February 2014)

'The credit here goes to Brown who not only has the emotionally hard hitting vocal range but a true naturalism that is so hard to find in the world of opera‚ not only commanding the stage with her presence but driving you to both tears of joy and sorrow'

Kiss Me‚ Figaro! The Merry Opera Company
The Lady (February 2014)

'Brown is a revelation. Her Lascia Ch’io Pianga from Handel’s Rinaldo was delivered in her onstage dressing room with the utmost sincerity and exquisite precision'

Albert Herring‚ Mid Wales Opera
Telegraph (September 2013)

'...this is a highlight of my Britten centenary trawl to date‚ warmly recommended if it’s coming your way'

The Magic Flute‚ The Merry Opera Company
New Statesman (March 2013)

'It’s worth holding out for Daisy Brown’s Pamina who has the kind of winsome innocence (coupled with the best vocals of the evening) every fairytale princess should have. Her “Ach‚ ich fühl’s” in particular is beautifully controlled and judged'

The Magic Flute‚ The Merry Opera Company
Forthwall Magazine (February 2013)

'We are granted legitimate access to the story during Daisy Brown’s breath-taking performance as both Mozart’s wife and Pamina. Alarmingly talented‚ Brown sings and acts with all the passion and conviction of a wide-eyed ingénue'

The Magic Flute‚ The Merry Opera Company
London Evening Standard (February 2013)

'Daisy Brown’s Pamina is even better — enchantingly wide-eyed and game in the skits but with gravity and vocal chops to melt your heart come the second act'

The Magic Flute‚ The Merry Opera Company
The Times (February 2013)

'Pamina/Constanze is outstandingly sung and acted by Daisy Brown — whom I long to hear again'

The Magic Flute‚ The Merry Opera Company
Timeout (February 2013)

'Daisy Brown’s ravishingly sung Pamina stood out'

Stabat Mater‚ Albion Baroque Orchestra
British Society for Eighteenth Century Studies (October 2012)

'Brown’s intensity and depth‚ paired with the more delicate timbre of Wayne-Wright’s countertenor register painted a comprehensive account of devotional sincerity...Emphatic vocal delivery and facial expressions possessed superb and moving credibility'

Susanna‚ Iford Festival Opera
Opera Now (October 2012)

'Daniel’s last minute paean to chastity was sung with great poise by Daisy Brown'

Susanna‚ Iford Festival Opera
Guardian (August 2012)

'The lovely bloom of Daisy Brown’s soprano rang out‚ adding a bright aura to Daniel’s appearances in what was inevitably a slightly sombre evening'

Susanna‚ Iford Festival Opera
The Stage (August 2012)

'Daisy Brown brings presence and spark to Daniel’s appearances‚ leading the drama to a conclusion whose inevitable element of moral unease Furtado handles with sensitivity and intelligence'

Susanna‚ Iford Festival Opera
Venue (August 2012)

'Daisy Brown’s Daniel was a neat bit of casting‚ the voice pure and youthfully bright‚ her stage presence quietly charismatic'

Semele‚ Hampstead Garden Opera (April 2011)

'Soprano Daisy Brown as “the go-between” Iris was utterly charming in “She resides in Sweet Retreat”'