Lucy Crowe

“Lucy Crowe dazzles with her every appearance, a young singer blessed with look-at-me-and-listen charisma.”
The Sunday Times

“Lucy Crowe…brings down the house with a soprano artistry beyond compare”
The Independent

© Victoria Cadisch


Born in Staffordshire, Lucy Crowe studied at the Royal Academy of Music, where she is now a Fellow.

With repertoire ranging from Purcell, Handel and Mozart to Donizetti’s Adina and Verdi’s Gilda she has sung with opera companies & orchestras throughout the world, including the Royal Opera, Covent Garden, the Glyndebourne Festival, English National Opera, the Teatro Real Madrid, the Deutsche Oper Berlin, the Bavarian State Opera, Metropolitan Opera New York, City of Birmingham Symphony Orchestra/Haïm, Oramo and Nelsons, The Berlin Philharmonic/Harding and Nelsons, Vienna Philharmonic/Nelsons, Orchestra of the Age of Enlightenment/Egarr, Scottish Chamber Orchestra/Nézet-Séguin, the Monteverdi Orchestra/Gardiner, the Orchestra dell’Accademia Nazionale di Santa Cecilia/Pappano and the London Symphony Orchestra/Rattle.

Recent opera highlights include her debut at Dutch National Opera in the title role Rodelinda and a return to the Royal Opera House, Covent Garden for Poppea Agrippina. Future appearances include Susanna Le Nozze di Figaro at the Metropolitan Opera. Highlights in concert this season include Bach’s Jauchzet Gott in allen Landen with the Frankfurt Radio Symphony/Mehta, Beethoven’s Symphony No. 9 with Orquesta Nacionales de España/Mena and Handel’s Judas Maccabaeus with B’Rock Orchestra in Bayreuth.

In recital she has appeared at the Concertgebouw, Carnegie Hall, Aldeburgh, Edinburgh, Mostly Mozart and Salzburg Festivals and the BBC Proms. Lucy has a vast discography. Her debut disc for Linn records featuring Berg, Strauss, and Schoenberg is to be released in 2021.


From The Green Room


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    HAYDN Il ritorno di Tobia

    Label: Sony

    Release Date: 14 Aug 20

    Soprano: Lucy Crowe
    Soprano: Anna Bonitatibus
    Alto: Bettina Ranch
    Tenor: Mauro Peter
    Bass: Neal Davies

    Mozarteum Orchestra Salzburg
    Salzburger Bachchor
    Conductor: Ivor Bolton

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    Handel's Queens

    Label: Hyperion

    Release Date: 05 Jul 19

    Soprano: Lucy Crowe
    Mezzo-soprano: Mary Bevan
    Harpsichord: Bridget Cunningham

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    DEBUSSY Songs Vol. 4

    Label: Hyperion

    Release Date: 02 Feb 18

    Soprano: Lucy Crowe
    Piano Malcom Martineau

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    HANDEL Acis and Galatea

    Label: Chaconne (Chandos)

    Release Date: 04 Jun 18

    Conductor: Christian Curnyn

    Soprano: Lucy Crowe
    Soprano: Rowan Pierce
    Tenor: Allan Clayton
    Tenor: Benjamin Hulett
    Tenor: Jeremy Budd
    Bass-Baritone: Neal Davies

    Early Opera Company

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    MENDELSSOHN Symphony No 2 'Lobgesang'

    Label: LSO Live

    Release Date: 01 Sep 17

    Lucy Crowe, Soprano

    Jurgita Adamonyte, Mezzosoprano

    Michael Spyres, Tenor

    Sir John Eliot Gardiner, Conductor

    Monteverdi Choir, London Symphony Orchestra

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    Il Caro Sassone

    Label: Harmonia Mundi

    Release Date: 20 Sep 11

    A solo disc of Handel arias
    Soprano Lucy Crowe with the English Concert under the direction of Harry Bicket

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    Lutoslawski disc

    Label: Chandos

    Release Date: 15 Aug 11

    Lucy Crowe, soprano
    BBC Symphony Orchestra
    Edward Gardner, conductor

    A disc of Lutoslawski’s vocal works including ‘Chantefleurs et Chantefables’, ‘Silesian Tryptych’ and ‘Lacrimosa’.

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    Handel Alceste

    Label: Chaconne - Chandos Early Music

    Release Date: 15 Apr 12

    Lucy Crowe, soprano
    Handel’s “Alceste” with the Early Opera Company under Christian Curnyn.
    ***BBC Music Magazine Awards Opera Award winner 2013***

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    Handel: Il Pastor Fido

    Label: Harmonia Mundi USA

    Release Date: 01 Mar 12

    Lucy Crowe, soprano
    La Nuova Musica
    David Bates, conductor

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    Eccles: The Judgment of Paris

    Label: Chaconne - Chandos Early Music

    Release Date: 01 Apr 09

    Lucy Crowe, soprano

    With the Early Opera Company under Christian Curnyn

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    As steals the morn... Handel

    Label: Harmonia Mundi

    Release Date: 01 Jun 07

    A dramatic collection of solo arias and scenes for tenor drawn for oratorio and opera – some of HANDEL’s most lovely music, brilliantly performed by Mark Padmore and The English Concert, led by Andrew Manze. The concluding duet As steals the morn with soprano Lucy Crowe is an added bonus.

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    Handel's Il Trionfo del Tempo e del Disinganno

    Label: Wigmore Hall Live

    Release Date: 29 Jan 10

    Early Opera Company
    Christian Curnyn director, harpsichord
    Lucy Crowe, Bellezza
    Hilary Summers, Disinganno
    Anna Stephany, Piacere
    Andrew Staples, Tempo

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    To Saint Cecilia

    Label: Naïve Classique

    Release Date: 02 Nov 09

    Lucy Crowe, soprano
    Choeur des Musiciens du Louvre
    Les musiciens du Louvre
    Marc Minkowski, conductor

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    Craig Armstrong: Memory Takes My Hand

    Label: Virgin Classics

    Release Date: 08 Jul 08

    Lucy Crowe (Soprano)
    Craig Armstrong (Composer)
    Garry Walker (Conductor)
    BBC Symphony Orchestra

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    Haydn: The Creation

    Label: The Soli Deo Gloria Collection

    Release Date: 25 Oct 11

    Haydn “The Creation” (Die Schöpfung)
    With John Nelson and Netherlands Radio Chamber Philharmonic Orchestra
    DVD recording

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    Handel & Vivaldi Dixit Dominus

    Label: Harmonia Mundi USA

    Release Date: 23 Apr 13

    La Nuova Musica
    David Bates, director

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    Szymanowski Stabat Mater

    Label: Chandos

    Release Date: 06 Jan 13

    Lucy Crowe, soprano
    Robert Murray, tenor
    BBC Symphony Orchestra & Chorus
    Edward Gardner, conductor
    Recorded in: Fairfield Halls, Croydon

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    HANDEL: Messiah

    Label: Warner Classics

    Release Date: 28 Oct 14

    Emmanuelle Haïm and Le Concert d’Astrée
    Lucy Crowe, soprano
    Tim Mead, alto
    Andrew Staples, tenor
    Christopher Purves, bass

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    JANACEK: The Cunning Little Vixen

    Label: Opus Arte

    Release Date: 01 Apr 13

    Glyndebourne Festival Opera
    Lucy Crowe, Vixen
    London Philharmonic Orchestra conducted by Vladimir Jurowski

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    Handel's Saul

    Label: Opus Arte

    Release Date: 27 May 16

    Saul, Christopher Purves
    David, Iestyn Davies
    Merab, Lucy Crowe
    Michal, Sophie Bevan
    Jonathan, Paul Appleby
    High Priest, Benjamin Hulett
    Witch of Endor, John Graham-Hall

    Conductor, Ivor Bolton
    Director, Barrie Kosky
    Orchestra of the Age of Enlightenment
    The Glyndebourne Chorus

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    Label: Delphian Records

    Release Date: 26 Feb 16

    Lucy Crowe, soprano
    William Berger, baritone
    Iain Burnside, piano

    Duets by Mendelssohn, Schumann and Peter Cornelius

    BBC Music Magazine “Monthly Choice” Feb 2016

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    Couperin: Leçons de Ténèbres

    Label: Harmonia Mundi USA

    Release Date: 09 Sep 16

    Lucy Crowe, soprano
    Elizabeth Watts, soprano
    La Nuova Musica
    David Bates, director, organ & continuo

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    R. Strauss 'Der Rosenkavalier' (highlights)

    Label: BBC Music Magazine Collection

    Release Date: 02 Jan 12

    Marschallin: Twyla Robinson
    Sophie: LUCY CROWE
    Octavian: Daniela Sindram

    BBC Scottish Symphony Orchestra
    Conductor: Donald Runnicles

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    02 Jun 20 Song Recital
    Wigmore Hall

    “They’d begun with Arne’s “O Ravishing Delight”, and that’s exactly what it was, as Crowe’s soprano unfurled in front of us like some huge, fabulous blossom. It was a flourish of pure theatrical optimism, beautifully balanced at the end of the hour by Ivor Novello’s “We’ll Gather Lilacs” – and just how snobbish would you have to be to object to a performance as unsentimental and as beautifully weighted as this one?”
    Richard Bratby, The Arts Desk, 03 June 2020

    “The programme, bittersweet in mood, consisted of lieder and English-language songs dealing with hope and longing, with a wonderful performance of Berg’s Seven Early Songs at its centre. The set suits Crowe uncommonly well, with her exquisite tone, fastidious sense of line, and understated but telling way with words. Liebesode was all refined sensuality, and in Sommertage, the eventual release into light after the dreams and raptures of the preceding nocturnes, was as touching as it was contented.”
    Tim Ashley, The Guardian, 02 June 2020


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    24 Feb 20 BEETHOVEN Tour John Eliot Gardiner & Orchestra Révolutionnaire et Romantique
    Carnegie Hall

    In the solo ensembles, soprano Lucy Crowe floated her curly phrases and high notes sweetly.”
    David Wright, New York Classical Review, 25 Febrauary 2020


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    09 Feb 20 BEETHOVEN Tour John Eliot Gardiner & Orchestra Révolutionnaire et Romantique

    “La soprano Lucy Crowe fue la aguerrida solista… interpretó el aria de concierto ‘Ah perfido, op. 65’ con buen instinto dramático.”

    “The soprano Lucy Crowe was the fierce soloist… she performed the concert aria ‘Ah perfido, op. 65’ with a good dramatic instinct.”
    Javier Pérez Senz, El Pais, 11 February 2020

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    14 Jan 20 HANDEL Rodelinda Dutch National Opera

    “Middelpunt van de handeling is de krachtige sopraan Lucy Crowe als Rodelinda.”

    “The centerpiece of the act is the powerful soprano Lucy Crowe as Rodelinda.
    Max Arian, De Groene Amsterdammer, 21 January 2020

    “Tralend middelpunt is sopraan Lucy Crowe. Zij maakt van de trouwe, slimme Rodelinda een vrouw van vlees en bloed door langzaam warm te lopen in haar rol, te knallen in enkele verrukkelijke wraakaria’s (met originele variaties in de da capo-delen) en zich aan het eind dan weer een mooi ambivalente vocale omfloerstheid toe te staan.”

    “Radiant centerpiece is soprano Lucy Crowe. She turns the faithful, clever Rodelinda into a woman of flesh and blood by slowly warming up in her role, popping into some delightful revenge arias (with original variations in the da capo parts) and at the end becoming a nice ambivalent to allow vocal crepe.”
    Mischa Game, NRC Handelsblad, 15 January 2020

    “Soprano Lucy Crowe gave a brilliant performance in the title role… Her singing, firmly centred, agile and sparking with temperament, was a triumph.”
    Jenny Camilleri, Bachtrack, 15 January 2020

    “Wat is het timbre van deze Britse sopraan ongehoord mooi.”

    “The timbre of this British soprano is incredibly beautiful.”
    Peter van der Lint, Trouw, 15 January 2020

    “Lucy Crowe… zong ook een reeks van aria’s op grandioze wijze. Aria’s waarin allerlei gemoedsstemmingen worden uitgedrukt.”

    “Lucy Crowe… sang the arias majestically . Arias in which all kinds of moods are expressed.”
    Franz Straatman, Place de l’Opera, 15 January 2020

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    09 Nov 19 MOZART and HANDEL Tour La Nuova Musica

    “Her voice glittered as brilliantly as the Assembly Rooms’ crystal chandeliers…If Crowe’s soprano was once exquisitely pure and light, it has matured into something far more interesting. None of the beauty is lost. Nor her unshakeable technique…Her coloratura is pinpoint clear; those high notes ping like stars in a night sky. Her ornamentation is imaginative and eloquent. Yet her sound is now so much richer, the colours more varied. Expression is everything.”
    Rebecca Franks, The Times, 11 November 2019

    “The first-half of the evening was devoted to Cleopatra’s thrilling and chilling arias from Giulio Cesare, as she greets and seduces the Roman emperor in ‘V’adoro pupille’, contemplates his possible death in battle in ‘Se pieta’ and ‘Piangero’ and finally celebrates his victory with ‘Da tempeste’. La Nuova Musica set the scene with the dramatic Overture from the opera, electrifyingly pacy, but never losing subtle detail, dynamics or shape. Crowe was channelling Cleopatra in more ways than one: a golden dress and an even more lustrous tone. Provocative, flirtatious, desperate, every aspect of the Egyptian queen’s psyche was on display. Her performance was astonishing. The technical demands of these arias are extreme and when combined with acting and musicianship of this calibre, the results were sensational. The energy was infused by Bates’s individual approach to these set pieces, poised at moments of elation or despair within the action of the opera. He introduced an improvised feel to the da capo arias, with intricate, unexpected and wild ornamentation, which Crowe achieved to perfection. Leaps, trills and melismas added to the emotion, embellishing and charging each phrase. Sobs and laughter were musically conveyed within Handel’s intention. The audience responded equally wildly to every piece, with rapturous ‘bravos’.”
    Amanda-Jane Doran, Classical Source, 12 November 2019

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    23 Sep 19 HANDEL Agrippina Royal Opera House
    Covent Garden

    “Yet the most ravishing singing is elsewhere, from Lucy Crowe’s vivacious Poppea, who in this opera (as opposed to Monteverdi’s) renounces her ambition and falls in love with Ottone, the one steadfast person in a world of schemers. He is sung and acted with compelling nobility by Iestyn Davies. Indeed, their final duet, a haunting tune that turns into a symbolic canon for the two voices, is the best thing in the show, and that’s saying something.”
    Richard Morrison, The Times, 24 September 2019

    “Lucy Crowe and Iestyn Davies both offer oases of pure loveliness as the lovers Poppea and Ottone”
    Rupert Christiansen, The Telegraph, 24 September 2019

    “Crowe makes a lovely Poppea, but we’re also very aware of the streak of toughness that lurks behind her charm.”
    Tim Ashley, The Guardian, 24 September 2019

    “Lucy Crowe was equally wonderful as the preening Poppea, her soprano agile and florid, revelling in her role as temptress.”
    Mark Pullinger, Bach Track, 24 September 2019

    “Crowe, who matches [Joyce DiDonato] for exotic changes of costume, and similarly alternates skirt-whirling, hair-tossing sex appeal with exquisitely floated lyricism.”
    Barry Millington, Evening Standard, 25 September 2019

    “Lucy Crowe’s soft, luminous soprano is as delectable as ever”
    Financial Times, 25 September 2019

    Lucy Crowe… shows herself to be just as much the diva as Agrippina. How she manages her breathing is a mystery, especially when she has repeatedly to climb the long stairway and circle the set a few times before tossing out “these bravura arias… awash with coloratura, sequences and energetic dotted rhythms” … Lucy Crowe’s is a virtuoso display.
    Critics Circle, 24 September 2019


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    27 Jun 19 JANACEK The Cunning Little Vixen London Symphony Orchestra
    Barbican Centre London

    “Sir Simon Rattle was blessed with a dream team in the roles of the Vixen and Forester. Lucy Crowe moves with lupine agility and captures all the creature’s amoral energy, giving a gloriously lyrical account of her discovery of her own beauty.”
    Rupert Christiansen, Telegraph, 28 June 2019

    “As Ms Sharp-Ears herself, Lucy Crowe prowled, flounced, leapt and slunk with a feisty repertoire of bad attitudes that made a delicious contrast with the refined, silvery sheen and swoop of her soprano. It’s eat or be eaten in this wood, and I especially loved her cynical recruitment of the gormless chickens into an animal-rights campaign as a prelude to – you know what. Her moments of solitary yearning had an eerie glamour and mystery, while the entrancing love duet with Sophia Burgos’s full-toned and finely-sung soprano Fox captured both the snarling and the sensuous sides of their liaison”
    Boyd Tokin, Arts Desk, 28 June 2019

    “Crowe, in superb voice, makes a wonderful Vixen, mischievous, charismatic, naive yet tender in her duet with Burgos.”
    Tim Ashley, The Guardian, 28 June 2019

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    12 May 19 HANDEL Rodelinda Oper Frankfurt
    Opernhaus Frankfurt

    “Lucy Crowe delights in Frankfurt with her clear and bright soprano. With great expression she encapsulates the suffering of the Queen, simultaneously emphasizing that Rodelinda is a strong personality that is not intimidated by her opponents … A musical highlight is the duet at the end of the second act, when Bertarido [Andrea Scholl] says goodbye to his beloved wife and is led into the dungeon. Here, Scholl’s counter tenor and Crowe’s fine soprano exude a beguiling closeness that gets under the skin.”
    Thomas Molke, Online Musik Magazine, 13 May 2019

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    14 Mar 19 MOZART The Magic Flute English National Opera
    London Coliseum

    “No performance with English soprano Lucy Crowe can be half bad and she makes a Pamina from heaven, sung with radiant beauty.”
    Richard Fairman, The Financial Times, 19 March 2019

    “Best of all is Lucy Crowe, back as a fabulous Pamina, providing a stream of glorious tone and several golden high notes.”
    Donald Cooper, The Times, 18 March 2019

    “…but Lucy Crowe as her feisty daughter sings gloriously, her despairing aria in act two being a marvel of delicately inflected artistry.”
    Michael Church, Independent, 17 March 2019

    “The opportunity to hear Lucy Crowe sing Pamina is enough to justify a ticket; her warm soprano is easily big enough for the size of the Coliseum, and the artistry that she displayed – phrases which bloomed, clean ventures into the higher register, purity of tone – made her performance a delight. She’s a consummate vocal actress too, who injected her aria “Ach, ich fühl’s” with so much feeling that it became the highlight of the second half. “
    Domonic Lowe, BachTrack, 16 March 2019

    “… while Lucy Crowe as her daughter also sings gloriously.”
    Chris Selman, Gay Times, 18 March 2019

    “…Lucy Crowe’s equally touching, finely sung Pamina.”
    Mark Berry, Seen and Heard International, 14 March 2019

    “Lucy Crowe was a delightful Pamina, and she succeeded in giving this rather passive character depth so that between each appearance we sensed the way Pamina’s character is developing. Her plangent tones were ideal for Pamina’s arias, bringing real expressiveness and beauty to the line and making us feel she cared without bending the music. The apparent simplicity of Crowe’s delivery meant that moments like ‘Die Wahrheit’ in the Act One finale worked brilliantly.”
    Robert Hugill, Planethugill, 15 March 2019

    “Lucy Crowe hits the spot as Pamina, flooding the theatre with generous tone, decisively leading the ensembles and beefing up the urgency of Pamina’s love for Tamino.”
    Peter Reed, Classical Source, 14 March 2019

    “Luxury casting with Lucy Crowe as a beautifully clear toned Pamina”
    Mark Ronan,15 March 2019

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    16 Feb 19 STRAUSS Four Last Songs
    Wigmore Hall

    “In soloist Lucy Crowe the ensemble also found a perfect match as her sound possessed a certain assertiveness, and yet revealed immense variation as it was exquisitely measured out for each moment in question. In ‘September’ the extreme brightness on ‘Sommer lächelt’, contrasted with the instantly more melancholic strains of ‘erstaunt und matt’, captured more generally Crowe’s ability to draw out to the full how the greatest joy is only fleeting, but also how sorrow is never overwhelmed by despair because these songs are about the acceptance of death. In the same way, the utterance of ‘Hände, lasst von allem Tun’ in ‘Beim Schlafengehen’ was wrought with a sense of quiet contentment, while the proclamation in ‘Im Abendrot’ of those precise words revealed a beautiful radiance, with the expansiveness on the syllable ‘Ab’ proving especially remarkable.”
    Sam Smith, Music OMH, 19 February 2019


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    12 Dec 18 HANDEL La Nuova Musica
    Wigmore Hall

    “Crowe’s fioritura was as easy as laughter, her cadenzas as cheeky as a kiss. There is little room for embellishment in this fleet, sweet piece, but she scattered the glitter nonetheless.”
    Anna Picard, The Times, 13 December 2018


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    01 Jun 18 SCHUMANN Das Paradies und die Peri
    LA Philharmonic

    “Lucy Crowe brought ravishing brilliance to the peri.”
    Mark Swed, Los Angeles Times, 4 June 2018

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    04 May 18 Recital, Anna Tilbrook
    Wigmore Hall

    “The opening mad scene of Purcell’s extraordinary “Bess of Bedlam” allowed Crowe to sign in with a gamut of colours and ornaments. She weights only the brilliant upper register which gave such thrills in the climactic cry of Goethe’s and Schubert’s “Gretchen” at the spinning-wheel, the ecstasy of Strauss’s “Cäcilie” and the epic idyll of Duparc’s gorgeous “Phidylé””…
    David Nice, The Arts Desk, 5 May 2018

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    28 Mar 18 MOZART The Marriage of Figaro
    English National Opera

    “And when Lucy Crowe announces her presence as the Countess with that great lament for lost love, ‘Porgi amor’, it’s as though we have been struck by lightning: her sound has such warmth, fullness, and power that it suffuses the whole auditorium with a golden glow.”
    Michael Church, The Independent, 5 April 2018

    “Who would have guessed this was Lucy Crowe’s first try at the Countess? She sounds radiant… Silkily lambent of sound, tingling with inner intensity, she has every side of the role covered.”
    Richard Fairman, Financial Times, 5 April 2018

    “The strong cast includes the excellent lyric soprano Lucy Crowe, making her role debut as Countess Almaviva in a exquisitely sung performance.”
    Clare Colvin, The Express, 16 April 2018

    “…in Dove Sono finds a profound beauty needed to throw the madcap plot into relief.”
    Rebecca Franks, The Times, 2 April 2018

    “She demonstrates the underlying cleanness of sound that tends to be a hallmark of her performances, and yet also brings immense richness and vibrancy to her soprano so that during ‘Porgi, amor’…”
    Sam Smith, Music OMH, 31 March 2018

    “This was a faultless take on the Countess, her ‘Porgi amor’ shaped beautifully, her ‘Dove sono’ from the third act similarly touching.”
    Colin Clarke, Seen and Heard, 1 April 2018

    “All of Crowe’s calling cards – depth of expression, purity of tone and clarity of diction – were on show and, as usual, she showed the ability not just to sing a role, but to inhabit it. There’s a physicality to her performance, at its most impressive on the two occasions when she attached herself to a servant, pulling his arm around her and leaning into him in desperation, conveying just as much sadness with her body as that she poured into a ravishing “Dove sono”. Crowe’s artistry is a total delight to hear and behold.”
    Dominic Lowe, Bach Track, 31 March 2018

    “Crowe’s voice is developing remarkably – it has more power nowadays and the tone remains as warm and creamy as ever. She sings her arias with an artlessness that is both affecting and convincing. Dramatically her Countess is a stronger personality that is sometimes the case, and Crowe enters into the spirit of Shaw’s conception well.”
    Alexander Campbell, Classical Source, 29 March 2018

    “I’I remember’ (‘Dove sono’) was carefully sculpted with fine breath control and was rewarded with the warmest ovation of the evening.”
    Ditlev Rindom, Opera, May 2018

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    21 Dec 17 VERDI Rigoletto
    Royal Opera House

    “…with Lucy Crowe’s Gilda, she and Platanias were a great partnership. Again in Act Two there were some treasurable moments – Crowe’s Padre, in voi parla un angelo per me consolotar (Father, through you a consoling angel speaks) really emphasised that…”
    Alexander Campbell, Classical Source, 21 December 2017

    “She displays all of the cleanness and purity in sound that we have come to expect from her, and yet her voice also reveals pleasing levels of richness and nuance.”
    Sam Smith, Music OMH, 24 December 2017

    “… deftly catapulted her distinctly strong soprano, even up to stunningly light trills and pianissimi.”
    Philip Eisenbeiss, Interlude, 28 December 2017

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    12 Oct 17 Janáček The Cunning Little Vixen
    Philharmonie Berlin

    “Lucy Crowe’s Vixen is vividly, compellingly acted, and she sings the part with an affecting, wide-eyed abandon… In isolation, her scenes with Finley’s Forester achieved an undeniable power…”
    Hugo Shirley, The Bach Track, 13 October 2017

    “That the evening…held moments of aching tenderness and heat was due mostly to Lucy Crowe’s rendition of the feisty, vulnerable and erotically vibrant Vixen and to Mr. Rattle’s bighearted reading of the simmering, light-flecked score.”
    Corinna da Fonseca-Wollheim, New York Times, 17 October 2017

    “Lucy Crowe und Angela Denoke gelingt eine Liebesszene, die zum anrührenden Höhepunkt der Aufführung wird.”

    “Lucy Crowe and Angela Denoke succeeded in creating a love scene that was extremely touching and was certainly the climax of the performance.”
    Wolfgang Schreiber, Suddeutsche Zeitung, 17 October 2017


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    09 Sep 17 Kodály Te Deum
    Last Night of The Proms

    “…and it was good to hear Kodály’s thrilling Budavari Te Deum, with Lucy Crowe excelling in the stratospheric soprano solo.”
    Richard Morrison, The Times, 11 September 2017

    “The BBC Singers and Symphony Chorus rose to the many challenges, as did the soloists, with soprano Lucy Crowe standing out for the rarefied beauty of her tone, well projected across often heavy accompaniment.”
    Gavin Dixon, The Arts Desk, 10 September 2017

    “The four soloists – Lucy Crowe, Christine Rice, Ben Johnson and John Relyea – were excellent but it was Crowe who shone though she had the advantage of being the soprano whose part is the longest and most moving. According to the programme notes it was the first time ever that Kodály’s Te Deum has been performed at the Proms – hard to believe, bearing in mind the quality, beauty and impact of the piece.”
    Margarida Mota-Bull, Seen and Heard International, 11 September 2017

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    09 Aug 17 Mozart Don Giovanni
    Edinburgh Festival

    “…and Lucy Crowe as Donna Elvira has a passionate voice of spun silver…”
    David Kettle, The Telegraph, 10 August 2017

    “Lucy Crowe’s elegant Elvira…she sings deliciously.”
    Catriona Graham, The Opera Critic, 11 August 2017

    “…recitatives were richly expressive in crystal clear Italian, and ensembles with Laura Aikin’s empathic Donna Anna and Lucy Crowe’s susceptible Elvira were strong”
    Carol Main, The Scotsman, 11 August 2017

    “Donna Elvira can come off as a pathetic figure, pining and indignant, but British soprano Lucy Crowe gave her genuine lyric tenderness. These singers bring personality and camaraderie to Fischer’s tight ensemble…”
    Justin Davidson,, 18 August 2017


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    26 Jun 17 Mozart 'Mitridate, Re del Ponto'
    Royal Opera House, London

    “…Lucy Crowe captured the audience’s heart with her graceful Ismene, exquisitely and brilliantly sung in tones that at times evoked Gundula Janowitz.”
    Yehuda Shapiro, Opera Magazine, September 2017

    “Lucy Crowe, as Ismene, brings down the house with a soprano artistry beyond compare”
    Michael Church, The Independent, 27 June 2017

    “Lucy Crowe stands out for idiomatic vocal beauty married to refined stage presence…”
    Nick Kimberley, Evening Standard, 27 June 2017

    “The performance of the evening was Lucy Crowe’s elegant turn as Ismene, Farnace’s cold-shouldered former love. Not only did she sing with heart and beauty, the soprano rendered Ron Howell’s curious choreography, Kabuki meets The King and I, with immaculate physical control.”
    Mark Valencia, What’s On Stage, 27 June 2017

    “Lucy Crowe shines…brightly as Ismene”
    George Hall, The Stage, 27 June 2017

    “Posing like a dancing girl carved on the wall of a far-eastern temple, Lucy Crowe brings presence to the foreign princess Ismene, and sings beautifully.”
    Erica Jeal, The Guardian, 28 June 2017

    “Similarly, Lucy Crowe sings Ismene with an exceptional, dreamy, effortless grace and does a nifty Indian head dance, too.”
    Richard Fairman, The Financial Times, 30 June 2017

    “…as Ismene, Lucy Crowe sang exquisitely, her strong and gentle Act III aria about brutal revenge not being the answer eliciting huge cheers.”
    Mark Ronan, 27 June 2017

    “Lucy Crowe excellent, captures the absurdity of her situation and gives the entire opera a delicious comic sheen as well as a wonderfully flexible voice.”
    William Hartson, The Express, 27 June 2017

    “…the title of Queen of the Coloratura fell easily into the lap of Lucy Crowe, whose voice is perfectly suited to this music: the clarity is there, the diction is good and when it’s time to navigate the high speed flying up and down the register, Crowe has so much ease, security of pitch and so much in reserve that she can really thrill with her phrasing.”

    David Karlin, Bachtrack, 30 June 2017

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    20 Apr 17 Mozart 'Requiem'
    Boston Symphony Orchestra

    “Lucy Crowe dazzles with her every appearance, a young singer blessed with look-at-me-and-listen charisma.”
    Ken Ross,, 21 April 2017

    “…and soprano Lucy Crowe floated a lovely line in “Lux Aeterna.”Together, the quartet sang with resplendent blend. Their passages in the “Recordare” were by turns serene and exuberant.”
    Aaron Keebaugh, Boston Classical Review, 21 April 2017

    “Lucy Crowe’s limpid soprano was delicate without fragility, gleaming above the orchestral textures. On their own, each soloist was strong, and their quartets consistently sparkled…”
    Zoë Madonna, Boston Globe, 21 April 2017

    “…the orchestra and the singers sounded stupendous as they performed Mozart’s haunting piece. I was especially impressed with two of the soloists – soprano Lucy Crowe’s angelic voice…”
    Ken Ross,, 21 April 2017

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    24 Mar 17 Handel 'Rodelinda'
    Teatro Real Madrid

    “Bejun Mehta as Bertarido and Lucy Crowe as Rodelinda were superlative… Crowe’s radiant high notes and her refreshingly natural, dynamic delivery were most moving in her grieving aria for Bertarido whom she supposed to be dead. As husband and wife were separated, their duet ‘Io t’abbraccio’ was the most impassioned moment of the evening.”
    Victoria Stapells, Opera Magazine, July 2017

    “Lucy Crowe como Rodelinda… pronto remontó a los cielos para dar una lección magistral de buena ópera: canto impecable y ríos de sensibilidad. Su emisión es penetrante a plena voz y no menos incisiva en unos pianos repletos de afecto. Un precioso color de lírica y comodidad para las coloraturas hacen de ella una opción ideal para el papel.”

    “Lucy Crowe as Rodelinda … soon went back to the skies to give a masterful lesson in good opera: impeccable singing and rivers of sensitivity. Its emission is penetrating in full voice and no less incisive in pianos full of affection. A beautiful lyric color and comfort for colorations make it an ideal choice for paper.”
    Juan José Freijo,, 27 April 2017

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    28 Nov 16 La Calisto La Nuova Musica
    Wigmore Hall

    “…the pathos and comedy in Calisto’s erotic downfall were exquisitely balanced by Crowe.”
    Anna Picard, The Times, 1 December 2016 

    “Lucy Crowe…in the title role, revealing an exquisite purity in her soprano and yet bringing an additional quality to her sound that made it feel almost spiritual.”
    Sam Smith, Music OHM, 28 November 2016 

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    05 Nov 16 Beethoven Missa Solemnis
    LPO, Royal Festival Hall, Sir Mark Elder

    “Lucy Crowe, Paula Murrihy, Allan Clayton and Peter Rose formed the solo quartet, their voices seamlessly blending and beautifully balanced.”
    Tim Ashley, The Guardian, 7 November 2016 

    “…Lucy Crowe penetrating clearly and radiantly above the orchestral and choral texture…”
    Curtis Rogers, Classical Source, 5 November 2016 

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    26 Aug 16 Mozart Requiem BBC Proms - Budapest Festival Orchestra
    Royal Albert Hall

    “…her voice simply soared with wonderful clarity: her solo statements had a lofting intensity and richness which was utterly heart-winning.”
    Claire Seymour, Opera Today, 27 August 2016 

    “The choral singing from the Collegium Vocale Gent was heart-breaking in its tenderness, as was soprano Lucy Crowe when she pleaded “to whom shall I appeal for aid?” in the Tuba Mirum…”
    Ivan Hewett, The Telegraph, 30 August 2016

    “Lucy Crowe was outstanding.”
    Barry Creasy, Music OMH, 26 August 2016 

    “…the unforced beauty of the high-lying soprano lines, delivered sensitively by Lucy Crowe, was a delight; one particular moment when her voice was underlain by basset-horn was magical.”
    Antony Hodgson, Classical Source, 26 August 2016 

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    17 Jul 16 Mozart ‘Exsultate, jubilate’ & Haydn ‘Mass in Time of War’ BBC Proms - OAE
    Royal Albert Hall

    “…led by Lucy Crowe, who opened the evening with Mozart’s Exsultate, Jubilate, which was sung with tremendous elan and radiant tone.”
    Tim Ashley, The Guardian, 18 July 2016 

    “It is an operatic showpiece par excellence, and soprano Lucy Crowe was fittingly celebratory… The music is perky but elegant, tuneful but virtuosic, and Crowe’s sweet tone contained no hint of operatic overkill. Her high notes in the second aria were beautifully floated rather than blasted, and the glorious top C right at the end was made to sound easy.”
    Bernard Hughes, The Arts Desk, 18 July 2016

    “…Mozart’s Exsultate jubilate, sung with a bravura flourish by the soprano Lucy Crowe… The piece is often performed by sopranos with a ‘Despina’ vocal quality, but Crowe’s voice is creamier and more full-bodied, and it provided a pleasant alternative, with no let-up on the agility for the cadenzas, or on the quality and precision of the top notes.”
    Barry Creasy, Music OMH, 18 July 2016 

    “True pizzazz came in the evening’s curtain-raiser, Crowe’s luscious rendition of Mozart’s Exsultate, jubilate.”
    Neil Fisher, The Times, 19 July 2016 

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    19 May 16 Mozart 'Requiem' & Part 'Miserere' LA Philharmonic Orchestra / Gustavo Dudamel
    Walt Disney Concert Hall

    “The commanding, sterling soprano Lucy Crowe dominated the soloist…”
    Mark Swed, LA Times, 20 May 2016 

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    01 Mar 16 DUET CD with William Berger & Iain Burnside
    Delphian Records

    ” ‘Frühling im Sommer’, a solo for Lucy Crowe’s delectable soprano, enters a more imaginative realm, conjured by delicately suggestive chords in the accompaniment… The prime pleasure of the disc overall is Crowe’s silvery beauty of tone in the many songs where she takes the dominant, top line.”
    Richard Fairman, Gramophone, 2016  

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    05 Feb 16 Mozart The Magic Flute
    English National Opera

    “Lucy Crowe’s rapturous “Tamino mine” will stay in the ears for a long time…”
    Alexandra Coghlan, The Arts Desk, 6 February 2016 

    “Lucy Crowe’s radiantly sung Pamina.”
    Mark Valencia, What’s On Stage, 6 February 2016 

    “Allan Clayton and Lucy Crowe make an attractively ardent Tamino and Pamina, projecting their lyrical arias with style and confidence…”
    Rupert Christiansen, The Telegraph, 6 February 2016 

    “Lucy Crowe’s sublime Pamina…”
    Michael Church, The Independent, 6 February 2016

    “…and London’s best sung Pamina in years from Lucy Crowe…”
    Martin Kettle, The Guardian, 7 February 2016 

    “Lucy Crowe captures Pamina’s agony and bewilderment at Tamino’s brutal rejection of her in “Now my joy has gone forever”, colouring the burning roulades and gasping staccato exquisitely, and
    artfully extending the silences between phrases.”
    Anna Picard, The Times, 8 February 2015 

    “Lucy Crowe, gleaming and honeyed in tone, irresistible in stage presence, is ideally cast as Pamina and duly wins all hearts.”
    Barry Millington, The Evening Standard, 9th February 2016 

    “But in Lucy Crowe’s performance, it’s Pamina who emerges as the central figure. Dressed in white, Crowe clambers gamely — like all the cast — as McBurney’s floating platform tilts and swings about the stage. She manages to convey both courage and vulnerability — in any other house, the luminous, piercing beauty of her great Act 2 aria of loss would surely have drawn an ovation. When she steps forward into a square of white light to share Tamino’s ordeals, the effect is of an almost Wagnerian moment of transcendence.”
    Richard Bratby, The Spectator, 11 February 2016 

    “The notable exception was Lucy Crowe.  Starting a visual advantage – blonde hair and a white dress amid all the dark grey – she sang what is probably the best Pamina I have heard live. The whitish character of her soprano is perfectly suited to the role – one thinks of Klemperer’s Gundula Janowitz – and she used her equipment brilliantly, producing exquisite pianissimos and making ‘Bei Männern’ and ‘Ach, ich fühl’s’ the two indisputable highlights of the evening. On top of that, her lines in the ensembles were wondrous.  Brava!”
    Russ McDonald, Opera Magazine, April 2016

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    14 Sep 15 Gluck Orphée et Eurydice
    Royal Opera House, Covent Garden

    “…and with soloists who both move us (Florez by his gymnastic beauty of tone, Crowe by her imperious force) and also amuse us (Forsythe with Amour’s moralising), musically we are in heaven from start to finish.”
    Michael Church, The Independent, 15 September 2015 

    “Lucy Crowe as Eurydice brings all the tonal colouring, moulded phrasing and sense of style one longs for…”
    Barry Millington, Evening Standard, 15 September 2015 

    “Flórez is joined…by Lucy Crowe, always an impassioned singer and here a paragon of dignity…”
    Mark Valencia, Whats On Stage, 15 September 2015 

    “Florez receives strong support from the opera’s other roles, with Lucy Crowe offering a Eurydice combining character with vocal grace…”
    George Hall, The Stage, 15 September 2015 

    “Lucy Crowe and Amanda Forsythe make well-matched sopranos as Eurydice and Amour.”
    Richard Fairman, The Financial Times, 16 September 2015 

    “…the zombie-like gestures of Lucy Crowe’s beautifully sung Eurydice after she has been reborn for the second time…”
    Richard Morrison, The Times, 16 September 2015

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    23 Jul 15 Handel Saul
    Glyndebourne Festival Opera

    “Lucy Crowe and Sophie Bevan vie in singing of Golden Age charm and accomplishment as the rivalrous sisters – Crowe’s Merab is all acid and venom…”
    Rupert Christiansen, The Telegraph, 24 July 2015

    “Superb singing from Iestyn Davies (David), Sophie Bevan (Michal) and Lucy Crowe (Merab), with outstanding dancers and chorus, all under the lively baton of Ivor Bolton.”
    Barry Millington, The Standard, 24 July 2015

    “… her gorgeous aria in the candlelit opening scene of the second part.”
    Andrew Clements, The Guardian, 24 July 2015

    “Lucy Crowe’s Merab was sung with the sparkling brilliance we have come to expect from this Glyndebourne favourite…”
    Melanie Eskenazi, Music OMH, 24 July 2015

    “No praise too high for the singing…of Lucy Crowe and Sophie Bevan as Merab and Michal respectively…”
    Michael Church, The Independent, 24 July 2015

    “Sophie Bevan and Lucy Crowe supply radiant tone and contrasting characterisations as the sisters Michal and Merab.”
    Richard Morrison, The Times, 25 July 2015

    “Lucy Crowe and Sophie Bevan offer sopranos of contrasting timbres but equal beauty as Saul’s daughters Merab and Michal…”
    Laura Battle, The Financial Times, 26 July 2015

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    23 May 15 Bizet Carmen
    Glyndebourne Festival Opera

    “In her role debut as the shy Micaëla, Lucy Crowe gives a melting performance…”
    John Allison, The Telegraph, 24 May 2015 

    “By contrast Lucy Crowe sang Micaëla, the girl from back home, with an affecting grace and an infusion of sadness that rendered her third-act aria almost unbearable.”
    Mark Valencia, What’s On Stage, 25 May 2015 

    “Lucy Crowe gave yet another demonstration of her versatility with her sweetly sympathetic Micaëla, as ever finely sung and characterized with entirely credible empathy.”
    Melanie Eskenazi, Music OMH, 24 May 2015 

    “Lucy Crowe’s homespun Micaëla, ardently performed…”
    Neil Fisher, The Times, 26 May 2015 

    “Lucy Crowe suggests Micaëla’s determination as well as her relative conventionality, her fine-grained lyric soprano forming an effective counterweight to d’Oustrac’s duskier mezzo.”
    George Hall, The Guardian, 24 May 2015

    “Lucy Crowe as Micaela comes with lashings of warm-toned vocal balm…”
    Edward Bhesania, The Stage, 26 May 2015 

    “With rich-toned bass David Soar as a swaggering Escamillo, and silvery soprano Lucy Crowe as a sweetly resolute Micaela, determined to save her fiancé from the gypsy’s clutches, it’s as good a cast as you could wish for.”
    Clare Colvin, The Express, 31 May 2015 

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    26 Feb 15 Purcell The Indian Queen
    English National Opera

    “There is singing of extraordinary eloquence by Lucy Crowe…”
    Barry Millington, Evening Standard, 27 February 2015 

    “Lucy Crowe as Doña Isabel has an obvious affinity for Purcell’s music and provides some of the most cherishable moments of the evening.”
    Kimon Daltas, The Arts Desk, 27 February 2015 

    “Lucy Crowe…create[s] moments of heart-stopping beauty…”
    Michael Church, The Independent, 27 February 2015 

    “The real star, though, is Crowe, whose singing is simply breathtaking in its beauty throughout.”
    Tim Ashley, The Guardian, 27 February 2015 

    “…the delicately nuanced singing of Lucy Crowe…”
    Richard Morrison, The Times, 2 March 2015 

    “the heart-rending great solos with the heavenly Lucy Crowe…”
    Richard Fairman, The Financial Times, 2 March 2015

    “…British soprano Lucy Crowe, whose intense O Solitude was a high point.”
    Fiona Maddocks, The Guardian, 1 March 2015

    “…the heart-stopping lament “O solitude” – exquisitely sung here by Lucy Crowe…”
    Rupert Christiansen, The Telegraph, 27 February 2015


Interview with the Daily Express – November 2014

Interview with the Guardian – May 2012

Interview with The Telegraph – May 2012