Reviews
ENO - The Makropulos Case, London Coliseum
She (Amanda Roocroft) is fortunate to be surrounded by equally accomplished singing actors, led by Andrew Shore, Peter Hoare, Ashley Holland, Laura Mitchell and Alasdair Elliott, who combine to make this an overwhelmingly intense theatrical and musical experience.
Rupert Christiansen, telegraph.co.uk. Sep 2010
Read Article Online
Among a strong supporting cast, particular mention must be made of Laura Mitchell's Kristina. Dramatically a little under-powered (though perhaps deliberately eclipsed by Roocroft's Marty), she produced a shining, rounded tone with diction that was close to faultless. Matched for youthful power by Peter Hoare's Albert Gregor, she was only outdone by Ryland Davies (as elderly, addle-minded lover Hauk-Sendorf) for dramatic pathos.
Alexandra Coghlan, musicalcritisism.com. Sep 2010
Read Article Online
The whole cast gave her excellent support and I particularly liked the singing of Peter Hoare as Albert Gregor, whom she called Bertiku (she was after all his multi-great grandmother in a previous incarnation). I was also very taken with Laura Mitchell as the attractive young opera singer Kristina.
Mark Ronan, Mark Ronan's Theatre Reviews. Sep 2010
Read Article Online
Laura Mitchell made a successful ENO debut, her sweet lyric soprano ideal for the petulant trilling of the insecure Kristina
Ruth Elleson, Opera Britannia. Sep 2010
Read Article Online
The more-sympathetic characters of Kristina and Count Hauk-Šendorf are vividly brought to vocal and theatrical life by Laura Mitchell and Ryland Davies.
Alexander Campbell, classicalsource.com. Sep 2010
Read Article Online
WNO -Mitridate
For me one of the particular pleasures of the evening was the performance of Laura Mitchell as Ismene. She brought an elegance and refinement of voice to all that she did. This was true even of her relatively unrewarding first aria, ‘In faccia all’oggetto’, in which she found unsuspected pathos and fear in the rather trite sentiments and relatively uninspired music. In Act II she brought a winning suppleness and fluency, a persuasive eloquence, to ‘So quanto a te’ (an aria accompanied by strings alone); the modesty of manner and the elegance of voice were tools of characterisation and she impressed by the intelligence of her attention to the details of the text. In Mitchell’s reading of the character and her music it wasn’t hard to believe in Ismene’s capacity for stoic patience, especially in ‘Tu sai per che m’accese’ at the beginning of Act III, where her command of this idiom, her ability to make it seem like a natural expression of a coherent character, was impressive. Mitchell is still a young singer; she will be a name to look out for in the coming years.
Glyn Pursglove, musicweb-international.com
Read Article Online
ETO -The Marriage of Figaro, A Mid-Summer Nights Dream
Tall and graceful..her high notes were consistently accurate and gleaming..her phrasing excellent and her timbre radiant, while her forgiveness of the Count in the final scene was suitably compelling, marked by commendable dignity and grace.
John E. De Wald, Opera Britannia
Read Article Online
The cast is a strong one. Laura Mitchell fields a soprano full of feeling as the countess and cuts a moving figure.
George Hall, thestage.co.uk
Read Article Online
Laura Mitchell sang the countess's two arias beautifully.
Andrew Clements, guardian.co.uk
Read Article Online
Most impressive was Laura Mitchell, portraying Helena with both strength and vulnerability. Her timbre was rich and luxurious, fully capable of resounding over Britten’s luscious music. Her diction was superb, too, every syllable well articulated and distinct.
John E.De Wald, Opera Britannia
Read Article Online
Holland Park Opera - Don Giovanni
Of a fine trio of leading ladies, the palm goes to Laura Mitchell, who shone as a fiery yet sympathetic Donna Elvira with singing of impressive fluency and precision.
Arnold Jarvist, classicalsource.com
Read Article Online
Laura Mitchell was a strikingly beautiful Donna Elvira with a lovely voice.
Mark Ronan, Mark Ronan's Theatre Reviews
Read Article Online
Laura Mitchell...gave a wonderfully intense performance, warm of voice and impassioned in her acting.
Mark Valencia , whatsonstage.com
Read Article Online
The Donna Elvira ofLaura Mitchell was wonderfully ditzy yet ultimately moving in her devotion to her one-time seducer. She has a striking voice.
Mark Pullinger, Opera Britannia
Read Article Online
Grange Park - Rigoletto
All was transformed when Mitchell's Gilda appeared. She was simply stunning as the traumatised girl, her acting knocked everything else off stage. Green and Mitchell were then profoundly moving in their final duet. Mitchell showed a fully-formed staged presence allied to a beautifully gleaming spinto voice. Classy and very good looking.
Arnold Jarvist, classicalsource.com
Read Article Online
Laura's affinity with her music shone through like a beacon. Her vocal range is immense and she reaches those high notes with the apparent ease of a bird ... Yet there is clarity in her diction that allows you to savour the lyrics.
Grimsby Concert Society, Central Hall, Grimsby.
Laura Mitchell held the audience spellbound as she sung Mozart's motet 'Exultate Jubilate' followed by Villa Lobos 'Bachianas Brasileiras no 5'. Laura projected her beautifully-modulated voice in a way that tenderly reached every part of the audience.
Bristol Cathedral. Treble Clef Autumn 08
…while Anne, a nice gal in a green Husky and sensible shoes, showcased Laura Mitchell's soaring, pearly soprano…
Yehuda Shapiro - Opera Now sept/oct 08 edition
Her minute subtleties of expression, inflections of words, and bending of pitch and rhythm are the mark of a singer who knows that music of this kind cannot be over stated, and who can draw on a wealth of musicianship and technique to say the tiniest thing without fuss.
Coach House, Dublin Castle. Martin Adams - Irish Times 4/11/06
The 27-year-old soprano Laura Mitchell secured the Song Prize with a wide-ranging programme that encompassed Jonathan Dove’s taxing unaccompanied Ariel, plus songs by Wolf, Vaughan Williams and Rodrigo, all executed with consistent polish and serious musicianship.…her performance instantly grabbed the attention of her audience.
Serena Fenwick - 2007 Kathleen Ferrier Awards Musical Pointer, Musical Opinions
…the star was unquestionably Laura Mitchell, whose Elisa was not only vocally agile and true, but deftly drawn in dramatic terms, effortlessly managing to stylize without affect.
Handels opera ‘Tolomeo’, London Handel Festival 06 - The Stage
