LucyCrowe

Press

• Handel Rodelinda (Title Role)

  Garsington Opera

  Jun 2025 - Jul 2025

  • The cast, led by Lucy Crowe’s powerhouse Rodelinda and Tim Mead’s gloriously rich-toned Bertarido, is first-rate, the playing of the English Concert thrillingly energised.

    • Erica Jeal, The Guardian
    • 15 June 2025

  • Lucy Crowe sings Handel with extraordinary ease.

    • George Hall, The Stage
    • 16 June 2025

  • Lucy Crowe develops an impressively versatile account of the title role. Her vocalism – by turns affecting, animated, or wild in her coloratura and upper register – makes Rodelinda no mere pawn or victim in this vicious game of thrones, but rightly embodies her agency as the heroine of this opera whose plans ultimately outwit everybody else’s, and secures her restoration.

    • Curtis Rogers, Seen and Heard International
    • 20 June 2025

  • The title role was taken by Lucy Crowe, who was outstanding. Her singing was lovely throughout her often demanding part, and she acted convincingly, whether enraged, despairing or exulting. She provided the solid centre of moral rectitude and marital fidelity, around which some others vacillated, confused about their feelings and motivations as they schemed for their own advancement. Crowe has a stage presence that compels attention even when she is listening to another’s singing. Her Siciliano “Ritorni, o caro e dolce mio tesoro”, yearning for her beloved husband’s return, was perhaps the most sparkling of the gems her part contains.

    • Roy Westbrook, bachtrack

  • Lucy Crowe excels in Handel and her Rodelinda is outstanding, spinning long lamenting lines, bending notes and firing off bravura ornaments.

    • Mark Pullinger, The Times

  • Lucy Crowe as Rodelinda heroically surmounted Handel’s vertiginous leaps and runs, and by sheer force of character managed to wrong-foot the powerful, scheming males around her.

    • Ivan Hewett, The Telegraph
    • 14 June 2025

• London: Wigmore Hall | Olivier Stankiewicz

  Wigmore Hall, London

  Apr 2025

  • ★★★★★ The main box-office draw was probably the soprano Lucy Crowe, and in an all-baroque programme she certainly wasn’t outshone. She delivered a series of testing Bach and Handel arias with such grace, agility, theatricality and wit that the notes seemed to leap off the page, and across the centuries, as though the ink were still wet. In the Handel numbers she was required to be a raging sorceress, goaded to dastardly threats by a fanfaring trumpet, or a cooing bird, fluttering delicately above the stave, or a tempestuous lover. Bach, of course, required a more chaste parade of personae: a joyous bride and a soul searching for Christ. Whatever the character, Crowe made it utterly gripping within seconds.

    • The Times
    • 23 April 2025

• BBC Proms | Garsington Opera | A Midsummer Night's Dream

  Royal Albert Hall, London

  Sep 2024

  • Iestyn Davies and Lucy Crowe always hold a stage, and worked the venue for luminous tone-colours

    • The Arts Desk
    • 11 September 2024

  • His Tytania here was Lucy Crowe, a singer who seems to be at the top of her form, her voice sure yet ethereal, and most of all open-toned with no sense of constriction. Perhaps Crowe’s finest moment was the one where time stops, the act I ‘Come, now a roundel and a fairy song’. Utterly transfixing.

    • Opera Today
    • 10 September 2024

  • He was ably partnered by Lucy Crowe’s bewitching Tytania who used her silvery-voiced instrument to telling effect, caressing Britten’s vocal lines, even in the stratospheric reaches of the part.

    • Seen and Heard International
    • 11 September 2024

• Garsington Opera | A Midsummer Night's Dream

  Garsington Opera

  Jun 2024 - Jul 2024

  • Both Davies and Crowe are outstanding, and energy levels jumped whenever Crowe steps on stage, every word delivered with authority and exemplary diction.

    • Culture Whisper
    • 23 June 2024

  • While Crowe’s voice rings out majestically, her deluded love-making with Bottom’s donkey being both comic and piercingly sad; the royal pair’s closing duet is exquisite.

    • iNews
    • 17 June 2024

• Boston: Brahms Requiem | Handel & Haydn Society

  Symphony Hall, Boston

  Apr 2024 - Apr 2024

  • The fourth movement, a well-loved, peaceful pastoral with chorus and orchestra, is followed by a message of healing, “Ihr habt nun Traurigkeit” which featured the excellent soprano Lucy Crowe spreading a blanket of angelically high soprano calm and solace which soared over the winds. Her tones and affect perfectly suited this. What beauty!

    • The Boston Musical Intelligencer
    • 23 April 2024

• Handel Rodelinda Tour

  Carnegie Hall, New York

  Dec 2023

  • She has the depth and power of a Verdi soprano, the ornaments of a Monteverdi specialist, and the stage presence of a Laurence Olivier. She acts every word and every note, often swaying and weaving her whole body or stretching out her arms like an archangel’s wings.

    • Anne E. Johnson, Classical Voice America
    • 12 December 2023

• Das Paradies und die Peri

  BBC Proms

  Aug 2023

  • Stealing the spangled show, however, was Lucy Crowe’s Peri. Her aerial, agile soprano was somehow both totally assured and deeply vulnerable as the outcast spirit who offers to heaven first a freedom-fighter’s heroism, then a lover’s deathbed sacrifice, before a repentant sinner’s tear finally wins the stamp on her celestial passport. With a spellbinding upper register and winning poise and lustre across her range, she managed to make this creature of Romantic fantasy credible and moving.

    • Boyd Tonkin, The Arts Desk
    • 23 August 2023

  • Lucy Crowe made an immediate impression with the radiance of her singing as the Peri, full of human feeling (despite her semi-supernatural ancestry).

    • Chris Kettle, Seen & Heard International
    • 24 August 2023

  • Lucy Crowe was a radiant Peri, her light lyric soprano eminently suitable to the ‘innocence’ of the role. She convincingly conveyed both the more folk-like and operatic qualities of the vocal writing and her transformation from despair to triumph and transfiguration at the close – a wonderfully glowing high C – was brilliantly delivered.

    • Claire Seymour, Opera Today
    • 23 August 2023

  • ...it was Lucy Crowe who stood as the first among equals as she gave a suitably multifaceted performance as the Peri. Combining sensitivity with precision, she shaped her lines to perfection and, in the process, made us feel every step of the Peri’s long and arduous journey towards Paradise.

    • Sam Smith, Music OMH
    • 22 August 2023

  • Heading the excellent line-up of soloists... was the soprano Lucy Crowe. Exquisite as the winged heroine, her pure soprano took us heavenwards with dazzling high notes until we arrived at paradise itself.

    • Mark Allan, The Times
    • 23 August 2023

• Handel Alexander's Feast

  London Handel Festival, St George's Hannover Square

  Feb 2023

  • Lucy Crowe was simply a class act. With her beautiful soprano being so accomplished, her sound could glisten on the surface even while there was so much else going on within it. The moment at which she described the burning of Persepolis with an unnerving sweetness and serenity marked out the brilliance of her own performance, as well as that of Handel’s writing to set up such paradoxes in the first place.

    • Sam Smith, Music OHM
    • 27 February 2023

  • Few sopranos deliver Handel’s texts as poignantly as Lucy Crowe does.

    • Richard Morrison, The Times
    • 24 February 2023

• Handel Alcina

  Palais Montcalm Quebec

  Feb 2023

  • [...] alors que la stupéfiante Lucy Crowe fut lunaire en Morgana, avec des aigus filés, des attaques improbables, jouant avec sa voix comme une funambule. The stunning Lucy Crowe was stellar as Morgana, with finely woven high notes, amazing articulations, playing with her voice like a tightrope walker.

    • Christophe Huss, Le Devoir
    • 13 February 2023

• Handel Messiah

  Coventry Cathedral

  Nov 2022

  • Lucy Crowe, replacing the originally-intended soprano Lisette Oropesa, and who opened the second section of the first part, has a beautiful purity of voice (‘And lo, the angel of the Lord’). How her voice soared, too, in ‘Rejoice greatly’; Crowe’s ornamentation, too, was perfectly judged.

    • Colin Clarke, Seen and Heard International
    • 26 November 2022

  • Lucy Crowe stepped in, [...] and her diamond-glint soprano soon came into focus.

    • Rebecca Franks, The Times
    • 25 November 2022

• Beethoven Missa Solemnis at the Proms

  Royal Albert Hall

  Sep 2022

  • Soprano Lucy Crowe possesses a voice of rare beauty and depth – able to float ravishing pianissimos, yet able to ride the climaxes without ever having to push her voice. She made her mark in the opening Kyrie and went on to sing out thrillingly in the Santus – her ‘Pleni sunt caeli’ launching the fugue confidently and with breathtaking ease.

    • Keith McDonnell, MusicOMH
    • 07 September 2022

  • Lucy Crowe sailed effortlessly across the massed musicians. She gleamed in the Christe eleison, in which the soloists’ melismas were expressive and impassioned, and her sustained high notes in the Benedictus were beautifully clean and legato.

    • Claire Seymour, Opera Today
    • 08 September 2022

  • The wondrous Lucy Crowe always has a special glow in the upper register; in this space, it sounded supernaturally luminous.

    • David Nice, The Arts Desk
    • 08 September 2022

  • Above it all the soprano soloist Lucy Crowe soared, vibrant and with impeccable intonation.

    • Richard Morrison, The Times
    • 08 September 2022

• Mozart Die Zauberflöte

  Gran Teatre del Liceu

  Jun 2022

  • la absoluta triunfadora de la noche fue la Pamina de Lucy Crowe. The absolute triumph of the night was Lucy Crowe's Pamina.

    • Pep Gregori, ABC Cultura
    • 22 June 2022

  • es una intérprete de gusto exquisito, capaz de frasear con un sentimiento y una elegancia realmente genuinos, como quedó manifiesto en su hermosa recreación de 'Ach, Ich fühl´s'. She is a performer of exquisite taste, capable of phrasing with truly genuine feeling and elegance, as manifested in her beautiful recreation of 'Ach, Ich fühl´s'.

    • Alejandro Martinez, Magazine Platea
    • 22 June 2022

  • Lucy Crowe es una experta en el papel y nos ofreció una Pamina extraordinaria. Comparada con ocasiones anteriores, sorprende gratamente comprobar cómo ha mejorado en potencia, emisión y firmeza, sin perder elegancia. Pero su interpretación está basada en una profunda teatralidad. Su “Ach, ich fühl's” se edifica desde el suspiro y el lamento y se yergue a través de un fraseo ejemplar. Lucy Crowe is an expert on paper and she offered us an extraordinary Pamina. It is pleasantly surprising to see how her voice has matured to gain power and impact, without losing elegance. But her interpretation is based on a deep theatricality. Her “Ach, ich fühl's” is built from a heartfelt sigh and continues with exemplary phrasing.

    • Juan Jose Freijo, Bachtrack
    • 22 June 2022

• Handel Serse

  Carnegie Hall

  May 2022

  • Crowe's tonal shine astounds, and she has the pitch control to pull off straight tone effects other singers might leave on the rehearsal room floor. Crowe also showed the emotional sensitivity to shade Romilda's resigned, defiant six-time utterance ("L'amerò") to the predatory Serse six different ways'.

    • David Shengold, Opera News
    • 08 May 2022

  • The show’s star was undoubtedly Crowe, who tuned the color of her soprano to the music at hand. She summoned lovely, pastel tone and lambent high notes for “Nè men con l’ombre” and turned the brief but crucial duet “L’amerete?” into a fully realized scene. Clean attacks, silky legato and enchanting trills are at her disposal. She is a Handel singer to be heard.

    • Oussama Zahr, The New York Times
    • 09 May 2022

  • And while articulation, and ornamental vibrato, were excellent throughout the performance, it was a resonating pleasure to hear voices like that of Crowe expand and sustain Handel’s lines. “Ombra mai fu” is followed by “O voi,” Romilda’s response to hearing Serse, and Crowe’s singing was exquisite. Her shining, pure tone was beautiful in itself, and her dynamics and rising and falling phrasing were tremendously expressive and gorgeous. Likewise, her virtuosic articulation in the fast music was thrilling in this bravura performance.

    • George Grella, New York Classical Review
    • 09 May 2022

  • Soprano Lucy Crowe, a great Handel interpreter, took the role of Romilda, Serse’s obsessive love quest. Her performance was exquisite, with clean attack, skilled articulation and beautifully shaped phrasing. The few strident sounds, in her upper register, could be easily attributed to natural impulsiveness. Sung with tremendous intensity, her second act aria, “E' gelosia quella tiranna”, was one of the performance’s highlights.

    • Edward Sava-Segal, Bachtrack
    • 09 May 2022