LucyCrowe

Press

• London Symphony Orchestra | Sir Simon Rattle Tour | Strauss ‘Vier letzte Lieder’

  Various

  May 2026 - Jun 2026

  • Soon that vocal line ascends, embellished by extensive melismatic writing, when Crowe also soared into that realm of vocal splendour.

    • Roy Westbrook, bachtrack
    • 22 May 2026

  • ...she was singing with lovely line and tone, and a bell-like high note on tausend in the last line. Im Abendrot was beautifully done.

    • Seen and Heard International, Jim Pritchard

• Mozart Così fan tutte (Fiordiligi)

  English National Opera

  Feb 2026

  • At the centre is Lucy Crowe’s Fiordiligi. She not only produces the finest Mozart singing heard at the Coliseum for years — a masterclass in agility, lightness and grace — but also gives a convincing portrayal of a woman torn between the turmoil of guilt and the ecstasy of liberation.

    • The Times
    • 08 February 2026

  • Lucy Crowe must take the honours for her magnificently sung Fiordiligi. Crowe’s bright upper register was entirely solid, with no difficulty in making the vocal leaps. She deployed her pure instrument with confidence and without artifice, and of all the performers she seemed to imbue the most meaning to the text; Mozartian singing at its finest.

    • bachtrack
    • 07 February 2026

  • Lucy Crowe delivering a Fiordiligi of real distinction. Crowe has always been an artist of intelligence and poise, but there she was operating on another level: every phrase carefully placed, every shift in mood handled with complete assurance. Fiordiligi's music is famously treacherous, demanding steel in the upper register as well as the ability to spin long lyrical lines - and Crowe made it sound effortless. Both her arias landed perfectly, not as set pieces but as moments of genuine emotional pressure, the character's internal conflict laid bare without any hint of grandstanding. ...with Crowe's world-class Fiordiligi - technically secure, dramatically alive and utterly poised - the evening had a centre of gravity that held everything together.

    • musicOMH
    • 10 February 2026

  • ...but the vocal star is Lucy Crowe. Gorgeous of tone and radiant of presence as Fiordiligi, she copes handsomely with Mozart’s sometimes inordinate demands.

    • The Standard
    • 09 February 2026

  • As Fiordiligi, Lucy Crowe, unquestionably one of Britain’s greatest lyric sopranos, combined impeccable vocal technique and accomplished acting skills. In her heroic Act 1 aria ‘Come scoglio’ (‘Like a mountain’) – a declaration of her unwavering fidelity – she overcame Mozart’s extreme vocal demands with consummate ease. Rapid runs and large interval leaps were delivered with gleaming precision, and silvery sustained high notes must have floated effortlessly to the highest reaches of the auditorium. She also met some challenging directorial demands too. In Act II, gently serenaded by a French horn, she gave a heart-melting rendition of the aria ‘Per pietà, ben mio, perdona’...

    • Seen and Heard International
    • 14 February 2026

  • Lucy Crowe is a peerless stylist and a vivid actor, so it wasn't just this Fiordiligi's big set piece of troubled devotion, the aria we know as "Per pietà", which raised goosebumps. "Come scoglio", here "like a mountain", was much more than just a protest-too-much assertion of fidelity.

    • The Arts Desk
    • 07 February 2026

  • ...an outstanding Fiordiligi from the soprano Lucy Crowe: her Act 2 aria, sung from a Ferris-wheel carriage, is a rare but effective moment of intense focus.

    • The Guardian
    • 08 February 2026

  • Lucy Crowe OBE delivers a vocally stunning Fiordiligi. Her voice is sweet and mellow, but still possesses underlying warmth and body, just like Fiordiligi: not yet fully a woman, but more than a girl. Even within the ensemble, Crowe’s voice remains unmistakably recognisable.

    • Theatre Weekly
    • 08 February 2026

• Mozart Die Zauberflöte (Pamina)

  Royal Opera House, London

  Oct 2025

  • Lucy Crowe spins her golden tone effortlessly as Pamina, her aria achingly beautiful.

    • Mark Pullinger, The Times

  • Topping my list of performers is Lucy Crowe. Her Pamina was an innocent abroad, a sylph-like figure floating across the landscape draped in white, with the occasional hint of blue. She sang delightfully, secure in all registers but especially compelling in her high notes which were tinged with gold.

    • Christopher Woodley, bachtrack
    • 11 October 2025

  • Crowe sparkled from the get-go, her tone warm, her phrasing exquisitely controlled.

    • Flora Wilson, The Guardian
    • 12 October 2025

• 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

  • …and Lucy Crowe giving us a fierce performance, really working the fioriture and making the aria virtuosic yet suitably trenchant.

    • Robert Hugill, Planet Hugill
    • 23 April 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

• Britten A Midsummer Night's Dream (Tytania)

  Garsington Opera and BBC Proms

  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

  • 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