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  Sopranos: Rebecca Bottone - Reviews

Akhnaten‚ Engligh National Opera (February 2019)

'Rebecca Bottone returns to the role of Queen Tye‚ Akhnaten’s mother‚ her soprano scaling Glass’ dizzying heights with ease.'

Akhnaten‚ Engligh National Opera
Classical Source (February 2019)

'Rebecca Bottone‚ a strong stage presence as the politically attuned Queen Tye‚ also makes a dazzling and ethereal contribution high above the stave.'

Akhnaten‚ Engligh National Opera
Opera Today (February 2019)

'Equally fascinating‚ was Costanzo’s on-stage relationship with his mother‚ Queen Tye‚ sang by Rebbeca Bottone. If with her white-powdered face‚ tightly curled hair and almost stony gaze‚ she slightly reminded me of the Virgin Queen she has a magnificently authoritative presence and powerful‚ resonating voice to match.'

Akhnaten‚ Engligh National Opera
Seen & Heard International (February 2019)

'Rebecca Bottone returns as Akhnaten’s mother‚ Queen Tye‚ whose voice complements Stevenson and Costanzo perfectly. Heard in trio (the Window of Appearances at the end of the first act)‚ the effect is remarkable.'

Akhnaten‚ Engligh National Opera
The Guardian (February 2019)

'Katie Stevenson as Akhnaten’s wife Nefertiti and Rebecca Bottone as his mother Queen Tye weave richer vocal textures that convey the growing unease around the cult of Aten.'

Alcina‚ La Nuova Musica
MusicOMH (January 2019)

'The simple stagecraft‚ which included instrumental soloists coming to the centre on occasions‚ worked well‚ with Rebecca Bottone’s performance of Morgana’s ‘Tornami a vagheggiar’ proving to be one of several moments over the evening when every aspect of music and performance came together perfectly. Not only did Bottone sing and act this challenging aria brilliantly‚ but‚ with Leo Duarte on the oboe standing next to her‚ the orchestra seemed almost physically to radiate out the sound that this pair generated.'

Alcina‚ La Nuova Musica
The Stage (January 2019)

'Rebecca Bottone charms irresistibly as Morgana...'

Idomeneo‚ Buxton Festival
Opera Magazine (September 2018)

'Rebecca Bottone used her flexible soprano intelligently as Ilia‚ notable in the aria mentioned above (Se il padre perdei)‚ which conjured gorgeous intimacy. '

Idomeneo‚ Buxton Festival
Mark Ronan Theatre Reviews (July 2018)

'In the meantime‚ Ilia‚ in love with Idamante after he releases her from her chains at the start of the opera‚ begs to recognise Idomeneo as a surrogate father. In this role the charming purity of Rebecca Bottone’s singing and dreamy quality of her portrayal was a highlight of the performance.'

Idomeneo‚ Buxton Festival
Planet Hugill (July 2018)

'Rebecca Bottone made a striking impression in her first aria‚ giving Ilia a real feeling of haunted intensity. '

Idomeneo‚ Buxton Festival
Seen & Heard International (July 2018)

'As Ilia‚ loved by‚ and loving Idamante‚ Rebecca Bottone‚ who sang Giunia last year‚ sings with bright even lyric tone and acts convincingly.'

Idomeneo‚ Buxton Festival
The Arts Desk (July 2018)

'...while as Ilia‚ Bottone combines a wide-eyed intensity with singing of a plaintive‚ plangent sweetness that’s genuinely affecting‚ particularly in her aria with Idomeneo‚ "Se il padre perdei". It’s the subtlest and most expressive vocal performance I’ve heard from Bottone‚ and I’ve heard her Yum-Yum.'

Idomeneo‚ Buxton Festival
The Stage (July 2018)

'...Rebecca Bottone is persuasive as the Trojan princess Ilia daughter of the defeated enemy with whom Idamante is in love. '

The Mother‚ Mahogany Opera
Opera Magazine (July 2018)

'Rebecca Bottone‚ singing Leon’s sometimes girlfriend Sophia‚ spun her aerial lines to haunting effect…'

Mozart in London‚ Ian Page
The Times (May 2018)

'Ana Maria Labin‚ Helen Sherman‚ Rebecca Bottone and other singers take spine-tingling leaps into the stratosphere and always come up smiling.'

Orfeo ed Euridice‚ La Nuova Musica
MusicOMH (May 2018)

'...Rebecca Bottone also delivered a fine performance as Amore. Possessing a clear and quite forthright tone‚ her voice took on a particular sweetness in the upper register and a highly pleasing depth in the lower.'

Samson‚ Halle Handel Festival (May 2018)

'Rebecca Bottone sparkled initially in “Ye men of Gaza”‚ and delivered a perfectly judged and technically immaculate “Let the bright seraphim” with pure bright tone‚ accurate coloratura‚ pretty top notes and the sweetest imaginable smile. '

New Years Eve Viennese Gala Concert‚ Brighton Philharmonic Orchestra
Lark Reviews (January 2018)

'Out of a finely balanced programme of familiar favourites and welcome additions‚ the highlight was without any doubt the mellifluous coloratura of Rebecca Bottone. Opening with the audition song from Die Fledermaus she moved effortlessly into Schenkt man sich Rosen in Tyrol from Zeller’s Der Vogelhandler‚ later adding the waltz song from Edward German’s Tom Jones...Rebecca Bottone returned to bring us a vocal setting of Strauss’ waltz Wo die Citronen blüh’n and‚ the vocal highlight of the afternoon‚ Vilja from The Merry Widow.'

Mozart vs Machine‚ Mahogany Opera
The Scotsman (November 2017)

'It was a slick‚ confident production from Mahogany Opera‚ nonetheless‚ with brilliant performances – best of all‚ soprano Rebecca Bottone as a garish Mozart.'

Lucio Silla‚ Buxton Festival
Opera Magazine (September 2017)

'Rebecca Bottone’s Giunia‚ much the most complicated character‚ was equally well-judged‚ as she moved from cold fish to determined lover in convincing stages. '

Mozart vs Machine‚ Mahogany Opera
Planet Hugill (September 2017)

'All of this zany action forges a surreal‚ vaudevillian and hyped-up show trial that puts Mozart - brilliantly sung and acted by the English-born soprano‚ Rebecca Bottone‚ whose dress and make-up depicted the wunderkind from Salzburg so vividly - firmly in the dock.'

Lucio Silla‚ Buxton Festival (July 2017)

'Rebecca Bottone was well up to the vocally dazzling task of Giunia‚ Cecilio’s wife and the proud rejector of Silla’s unwelcome love.'

Lucio Silla‚ Buxton Festival
Manchester Classical Music (July 2017)

'Rebecca Bottone was also on top form‚ as his faithful fiancée‚ Giunia‚ looking terrific and singing with beauty and sensitivity over a wide range (in‚ for instance‚ Frà I pensier più funesti di morte).'

Lucio Silla‚ Buxton Festival (July 2017)

'As a beautiful Giunia in her long dress and red hair‚ Rebecca Bottone was barely off the stage‚ providing a wonderful focal point for the varying traumas‚ and singing a superbly emotional Act III aria after her betrothed Cecilio has apparently been executed.'

Lucio Silla‚ Buxton Festival
The Spectator (July 2017)

'...Rebecca Bottone’s imperious Giunia and Karolina Plickova’s vacillating Lucio Cinna all make their mark musically.'

Lucio Silla‚ Buxton Festival
The Times (July 2017)

'Mozart wrote Lucio Silla when he was 16 and eager to wow Milan. Some of its arias are longer than whole movements in his symphonies and demand heroic stamina and virtuosity. So I have nothing but admiration for Rebecca Bottone...'

Deborah‚ Halle Festival (June 2017)

'...Deborah‚ sung by English sopraono Rebecca Bottone‚ who has a very pleasing and pure voice‚ with crystalline high notes and accurate coloratura.'

Lucio Silla‚ Buxton Festival
Mail on Sunday (June 2017)

'None of the critics around me could remember a previous professional staged performance of Lucio Silla‚ a tale of a Roman dictator who improbably allows the sincere love of Giunia (Rebecca Bottone on outstanding form) for Cecilio...'

The First Commandment‚ Classical Opera (March 2017)

'Dominating proceedings was Rebecca Bottone’s Worldly Spirit who with her large pile of blond hair‚ dazzling smile and amorous approach seemed to be a reincarnation of one of Barbara Windsor’s Carry On characters. I almost expected a cry of “Saucy!”. Vocally‚ she displayed a fine bubbling top that easily coped with the high notes and trills of the character‚ at her best in “Life is pleasure‚ do not waste it”.'

The First Commandment‚ Classical Opera
Schmopera (March 2017)

'Soprano Rebecca Bottone sang with thrilling personality - and a few hints of Audrey Luna - as Worldly Spirit‚ proving that Mozart always did love to pair a coloratura soprano with the characters who have a so-bad-it’s-a-good-influence on the hero of the story.'

The First Commandment‚ Classical Opera
The Observer (March 2017)

'Rebecca Bottone’s Worldly Spirit‚ luring all along the paths of wickedness‚ was impudent and virtuosic.'

New Years Eve Concert‚ Brighton Philharmonic Orchestra
Mid Sussex Times (January 2017)

'The audience again enjoyed the mix and clearly were captivated by the coloratura excellence of soprano Rebecca Bottone.

No doubt she offered not only beautiful and masterly singing but also full value for money‚ serving up six classics from Josef Strauss as well as Franz Lehar‚ Gilbert and Sullivan‚ Fritz Kreisler and Carl Zeller.

She also left the Dome faithful in seventh heaven with an Italian encore of Arditi’s Il Bacio.'

New Years Eve Concert‚ Brighton Philharmonic Orchestra
The Argus (January 2017)

'In between the orchestral delights the charming Rebecca Bottone‚ a soprano who loves to show off in the nicest possible sense‚ seduced and dazzled with a display that showed not just vocal agility but a fine control of tone and soaring power.'

The Sorcerer‚ National Gilbert & Sullivan Opera Company‚ Harrogate
Seen & Heard International (August 2016)

'A local parishioner‚ Constance‚ has a passion for the mentally-detached parson‚ Dr Daly. Their stage presence and interaction at their meeting is beautifully played and sung.'

The Mikado‚ Scottish Opera
Seen & Heard International (June 2016)

'Rebecca Bottone is a beautifully sweet Yum-Yum'

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. '

The Mikado‚ Scottish Opera
Opera Britannia (May 2016)

'There’s quite a lot to like about the singing. Nicholas Sherratt had a gentle take on Nanki-Poo – a lyrical performance which did him credit. Rebecca Bottone’s Yum-Yum matched him well. There was an effortlessness about their duets which was very pleasing.'

The Mikado‚ Scottish Opera
The Scotsman (May 2016)

'Rebecca Bottone brings resolute charm to the role of Yum-Yum'

The Mikado‚ Scottish Opera
The Stage (May 2016)

'Rebecca Bottone makes an appealingly knowing Yum-Yum. '

Akhnaten‚ English National Opera
MusicOMH (March 2016)

'Emma Carrington was a rich-toned Queen Nefertiti‚ complementing Rebecca Bottone’s bright-voiced Queen Tye '

Akhnaten‚ English National Opera
Opera Britannia (March 2016)

' Mother Queen Tye was a soaring yet crisply-controlled Rebecca Bottone‚ '

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‚ Rebecca Bottone’s spooky Queen Tye'

Akhnaten‚ English National Opera
Timeout (March 2016)

'Rebecca Bottone as his mum‚ the brittle matriarch Queen Tye‚ commands the stage... '

Idomeneo‚ Blackheath Halls
Opera (September 2015)

'Rebecca Bottone’s serious‚ self-assured Ilia was impressive. Vocal sweetness aside‚ she best grasped the fact that less is more when acting in-the-round: and as official Trojan spokesperson she lent an arresting colour to Amanda Holden’s safe but neutral English text'

Patience‚ National Gilbert & Sullivan Opera Company‚ Harrogate (August 2015)

'Patience herself‚ at the centre of the action‚ was played by Rebecca Bottone as a very Yorkshire milkmaid. Her agile soprano sparkled in her solo songs and she created a fine rapport with her two suitors'

Patience‚ National Gilbert & Sullivan Opera Company‚ Harrogate
Seen & Heard International (August 2015)

'Patience appeared in a costume replicating Gilbert’s original style and carried off her part‚ with believable wide-eyed innocence‚ to perfection. Her ‘tripe and chips’ northern image of a simple-minded lass was brilliant...Rebecca Bottone has a loving sincerity to her singing and the duet with Grosvenor was tenderly sung by them both'

Epithalamion‚ BBC Prom 7 Royal Albert Hall
Classical (July 2015)

'This clearly was a fine first-performance – Andrew Davis is a long-time Wood champion and Epithalamion is dedicated to him – the full orchestra and its bright and dark-glow sounds well-prepared‚ the BBC Symphony Chorus suggesting much enjoyment in tackling Wood’s grateful writing‚ and Rebecca Bottone (singing from the Chorus) sweet-toning the celebration'

Idomeneo‚ Blackheath Halls
Sunday Times (July 2015)

'Nicholas Jenkins marshalled his musical forces effectively and chose a fine quartet of leads...Rebecca Bottone and Sam Furness made a lyrical romantic pair'

Peter Pan‚ Welsh National Opera at Covent Garden
Opera Britannia (July 2015)

'...the children were led by the irrepressible energy of Miss Bottone as the youngest child‚ Michael‚ who was a convincing‚ impish‚ bell-like schoolboy'

Peter Pan‚ Welsh National Opera at Covent Garden
Planet (July 2015)

'The three children were equally impressive‚ with a lovely sense of child-like attitude and body language...Nicholas Sharratt and Rebecca Bottone made a great double act as the two boys!'

Pelléas et Mélisande‚ Welsh National Opera
Seen & Heard International (June 2015)

'Leah-Marian Jones‚ as Geneviève‚ was secure and intelligent in all that she did‚ as was Rebecca Bottone in the role of Yniold. Bottone is a young singer of real charm and stage presence'

Pelléas et Mélisande‚ Welsh National Opera
What’s On (June 2015)

'...if Golaud’s son Yniold has to be played by a woman then Rebecca Bottone’s your man'

Pelléas et Mélisande‚ Welsh National Opera (Birmingham Hippodrome)
Classical (June 2015)

'Much praise also for Rebecca Bottone’s Ynoild. Hers was a distressingly realistic depiction of innocence being crushed by the actions of others'

Peter Pan‚ Welsh National Opera
The Stage (June 2015)

'Finely done‚ too‚ are Marie Arnet’s caring Wendy‚ with Nicholas Sharratt and Rebecca Bottone as her brothers John and Michael respectively'

Pelléas et Mélisande‚ Welsh National Opera
Classical (May 2015)

'Rebecca Bottone introduced a volatile treble quality into her singing as Yniold‚ inducing great anxiety as she spies on the lovers for his father'

Pelléas et Mélisande‚ Welsh National Opera
Telegraph (May 2015)

'Rebecca Bottone (a winsome Yniold) completed a very fine cast'

Peter Pan‚ Welsh National Opera
Seen & Heard International (May 2015)

'Rebecca Bottone‚ as Michael‚ youngest of the three Darling children‚ captures the physical movements and gestures of a young boy quite beautifully (and is disturbingly sexy in the process!)'

Peter Pan‚ Welsh National Opera (May 2015)

'Nicholas Sharratt and Rebecca Bottone sang‚ acted and flew John and Michael'

La Cenerentola‚ Scottish Opera (October 2014)

'Rebecca Bottone and Máire Flavin made a spry pair of wild-haired jealous sisters‚ their voices blending together in their anxiety to win over their hearts’ desire and improve their station'

La Cenerentola‚ Scottish Opera
Guardian (October 2014)

'Rebecca Bottone and Máire Flavin sing nimbly and have fun as the stepsisters‚ all swivelling hips and mouths agog'

La Cenerentola‚ Scottish Opera
Herald Scotland (October 2014)

'Sandrine Anglade’s interpretation plays up to the pantomime traditions of the story‚ and she is well served by the performances of Rebecca Bottone and Maire Flavin as the far-from-ugly sisters'

L’Issipile‚ La nuova musica
Independent (January 2014)

'The starry line-up of soloists had been cleverly chosen. Sopranos Lucy Crowe and Rebecca Bottone complemented each other perfectly‚ with Crowe’s luscious fullness of tone set off by Bottone’s coloratura (crystalline despite her heavy pregnancy)'

L’Issipile‚ La nuova musica (January 2014)

'Unstaged though it was‚ every singer entered fully into the spirit of the narrative...Rebecca Bottone sang with crystalline tone even when the music was at its most fearsome'

L’Issipile‚ La nuova musica
The Arts (January 2014)

'Heavily pregnant – I feared she might give birth at any moment – Rebecca Bottone put all her strength into the role of Rodope‚ the heroine’s perpetually anguished confidante'

Imeneo‚ Academy of Ancient Music‚ Barbican Hall London (June 2013)

'As Rosmene‚ Rebecca Bottone’s voice was sweet‚ elegant and precise'

Imeneo‚ Academy of Ancient Music‚ Barbican Hall London
Classical (May 2013)

'Rebecca Bottone revealed Rosmene as a woman not so much of erotic allure as one of determination and forcefulness with her defiant and demonstrative gestures‚ dramatically and musically'

Imeneo‚ Academy of Ancient Music‚ Barbican Hall London
Financial Times (May 2013)

'As the centre of attention‚ Rebecca Bottone’s Rosmene was sung with a bright soprano‚ as hard and brilliant as a diamond'

Peter Grimes‚ Royal Opera House (June 2011)

'...deceptively smart characters here given layered performances by Rebecca Bottone and Anna Devin'

Peter Grimes‚ Royal Opera House
Observer on Sunday (June 2011)

'Yet here‚ with gifted actor-singers such as Matthew Best (Swallow)‚ Roderick Williams (Ned Keene)‚ Jonathan Summers (Balstrode) and Alan Oke (Bob Boles)‚ identification presented no problem. We knew each one of them. Jane Henschel’s Mrs Sedley‚ Catherine Wyn-Rogers’s Auntie and her "nieces"‚ the lively duo of Rebecca Bottone and Jette Parker young artist Anna Devin‚ conveyed both their individuality and their numbing‚ circumscribed ordinariness'

Peter Grimes‚ Royal Opera House
Seen & Heard International (June 2011)

'Her ‘nieces’‚ Rebecca Bottone and Anna Devin both made strong impressions too‚ their proper air of grotesquerie never allowed to proceed too far'

A Midsummer Night’s Dream‚ Garsington
Independent (June 2010)

'Oberon and Tytania – James Laing and the remarkable Rebecca Bottone'

A Midsummer Night’s Dream‚ Garsington
Telegraph (June 2010)

'Rebecca Bottone sparkled through Tytania’s coloratura'

A Midsummer Night’s Dream‚ Garsington
What’s On (June 2010)

'Steuart Bedford‚ Britten’s preferred interpreter in his day and someone who knows this score better than anyone‚ leads an outstanding ensemble cast whose impeccable diction allows us to ignore the surtitles and feast our eyes as well as our ears on the performances. ?Rebecca Bottone is a divine Tytania‚ mischievous and spritzer-voiced'

Powder Her Face‚ Royal Opera House
Classical (May 2010)

'Rebecca Bottone was every above-the-stage inch the Helden-soubrette Adès calls for in her various roles‚ an astonishing‚ high-energy performance'

Powder Her Face‚ Royal Opera House (May 2010)

'Rebecca Bottone‚ qui récolte une large part des applaudissements au moment des saluts‚ semble se régaler de ces acrobaties‚ les prouesses virtuoses dissimulant mal l’acidité d’un chant qui donne parfois l’impression de miaulements /// Rebecca Bottone ‚ who collects a large share of applause when greetings‚ seems to enjoy these acrobatics‚ virtuoso prowess poorly concealing the acidity of a song that sometimes gives the impression of meowing'

Powder Her Face‚ Royal Opera House
Guardian (May 2010)

'Timothy Redmond’s conducting is super-slick‚ and there are superbly lubricious performances from Iain Paton‚ Alan Ewing and Rebecca Bottone as the exploitative men and women in the Duchess’s life'

Powder Her Face‚ Royal Opera House
Independent (May 2010)

'Rebecca Bottone was rivetingly comic in a medley of soubrette roles'

Powder Her Face‚ Royal Opera House
The Opera (May 2010)

'...the cast remains the same‚ each - Alan Ewing‚ Rebecca Bottone and Iain Paton - quite outstanding in their multiple roles'

Prima Donna‚ Sadler’s Wells‚ London
Independent (April 2010)

'...the pert coloratura maid Marie (Rebecca Bottone‚ sweetly stratospheric)'

Prima Donna‚ Sadler’s Wells‚ London
Telegraph (April 2010)

'Rebecca Bottone as a sympathetic maid is the best of the supporting cast'

A Little Night Music‚ Théâtre du Chatêlet
Classic (February 2010)

'...the secondary female roles of Anne Egerman (Fredrik’s child-bride) and Countess Charlotte Malcolm are expertly filled by‚ respectively‚ Rebecca Bottone and Deanne Meek'

Artaxerxes‚ Linbury Theatre Royal Opera House (November 2009)

'Elizabeth Watts and Rebecca Bottone as Arbaces’ beloved Mandane and his sister Semira respectively‚ brought some vocal weight to the cast. The contrasting tonal colour of their voices helped characterise their splendid sparring music...Bottone proved herself consistently agile'

Artaxerxes‚ Linbury Theatre Royal Opera House
Seen & Heard International (November 2009)

'As Semira‚ Arbaces’ sister‚ Rebecca Bottone shone'

Le grand macabre‚ English National Opera
Independent on Sunday (September 2009)

'Bourne and Bottone make the absurdities‚ exaggerations‚ uglinesses and angularities of Ligeti’s vocal writing sparkle'

Le grand macabre‚ English National Opera
Mundo (September 2009)

'Frances Bourne (Amando) y Rebecca Bottone (Amanda) complementan con movimientos coreográficos sus voces precisas y seguras en el ataque de la altísima tesitura de sus roles /// Frances Bourne (Amando) and Rebecca Bottone (Amanda) choreographic movements complement their accurate and safe in the attack on the high tessitura of their roles voices'

Prom 35: Gilbert and Sullivan Patience‚ Royal Albert Hall‚ London
Guardian (August 2009)

'The cast was perfection. Toby Stafford-Allen (Grosvenor) and Simon Butteriss (Bunthorne) were the velvet-clad rivals hankering after Rebecca Bottone’s naive‚ proletarian Patience'

Prom 35: Gilbert and Sullivan Patience‚ Royal Albert Hall‚ London
Independent (August 2009)

'...sweet-voiced Rebecca Bottone (Patience) who “cannot tell what this love may be” but spins her bewilderment in two of the most exquisite numbers Sullivan ever wrote. Only the musically insensitive or cloth-eared could balk at those'

Prima Donna‚ Manchester International Festival‚ Palace Theatre Manchester
Independent on Sunday (July 2009)

'Bottone sweetly turns her aria "A mon pays de Picardie"'

Prima Donna‚ Manchester International Festival‚ Palace Theatre Manchester
Observer on Sunday (July 2009)

'Rebecca Bottone is quite brilliant as the bird-like Marie‚ flitting to Madame’s assistance‚ trilling her sympathy in the upper registers'

Ermione‚ Opera Rara
Seen & Heard International (April 2009)

'Soprano Rebecca Bottone was a young-sounding‚ fresh and confident confidante to Ermione'

Ermione‚ Opera Rara
Music & (March 2009)

'Rebecca Bottone as Cleone (Ermione’s confidante) was the only high lyric soprano and sang with clarity and beauty'