DEAD MAN WALKING – Welsh National Opera

“Anne Mason’s performance as Joseph’s mother was remarkable; she invested a rather simple and bewildered woman with a fully ‘operatic’ (in the best sense) weight of emotion and dignity. Her performance repeatedly tore at the strings of one’s heart – I don’t mind admitting that I felt my eyes filling up with tears at more than one point.”
SeenandHeard International, Glyn Pursglove (June 2019)

IL TROVATORE – Scottish Opera (2015)

“The real revelation is Anne Mason, as the vengeance-crazy Azucena. She proves that you don’t have to foam at the mouth and chew the furniture if you have the voice to convey white-hot rage with a steely yet expressive timbre and knockout power.”
The Times, Richard Morrison (12 May 2015)

“Mason is the unquestionable star of the show. Her mezzo soprano voice exudes a rich, golden quality across its entire range, imbuing this Azucena with the essential combination of hot-bloodedness and tender affection. A truly memorable performance.”
The Scotsman, Ken Walton (9 May 2015)

“Stealing more than one scene is Anne Mason as the crazed gypsy Azucena, whose desire to avenge her mother’s terrible death motivates the entire plot; vocally, she attacks the part with comprehensively meaty tone.”
The Stage, George Hall (8 May 2015)

“…her delivery is potent”
The Guardian, Kate Molleson (8 May 2015)

JENUFA – Glyndebourne on Tour (November 2009)

“The unifying performance – and what a performance -of the evening comes from Anne Mason as Jenufa’s stepmother, the Kostelnicka, whose determination to give her stepdaughter a better life than hers drives this essentially decent woman to an unspeakable act. That we can so completely read and understand the emotional journey that takes her there is a huge tribute to both singer and director. When in act one this tight-waisted, buttoned-up, woman stands centre stage to reveal the depths of a lifetime’s disillusionment the light that goes out within her goes out on stage, too. I don’t think I have ever been quite so moved by her scene with the wastrel Steva where she goes down on her knees to beg him to rescue her stepdaughter and his illegitimate child from social disgrace. More often that not we see two-dimensional Kostelnickas – not so with Mason. The emotional range of her singing draws us in so close it’s uncomfortable. Tremendous.”
The Independent, Edward Seckerson (29 Oct 2009)

“The other revelation was Anne Mason as the Kostelnicka, who rises to an extraordinary emotional grandeur.”
The Telegraph, Rupert Christiansen (27 Oct 2009)

“…and in Anne Mason’s descent from unflinching rectitude to soul-shattering guilt, the linchpin character of Kostelnicka finds an outstanding exponent. Her grand and resourceful mezzo is up to every challenge the opera throws at her.”
The Guardian, George Hall (1 Nov 2009)

“But the real triumph of this production, so richly animated with folkdance and song, is the intense emotional dysfunctionality of Anne Mason’s magnificent Kostelnicka. Minutely thought through, it rejects the black ramrod caricature for a multidimensional study of human pain and fear. And Mason’s mezzo, always beautifully nourished and preserved, expresses this completely with a fierce strength and revelatory insight.”
The Times, Hilary Finch (4 Nov 2009)

“….. the melding of her voice into Jenufa’s in the confession was heartbreaking, as it should be.  Her singing had urgency and authority, and her economical acting was very eloquent”.
Opera Magazine, Peter Reed (Dec 2009)

IL TROVATORE – Opera Holland Park (June 2008)

“Anne Mason’s Azucena is among the best sung and most subtly inflected I have heard. Here’s an Azucena who excites with the impulse of the words, not the pneumatic overuse of her chest voice. She’s classy and touching; her singing comes from somewhere.”
The Independent, Edward Seckerson (5 June 2008)

“Anne Mason gives a tremendous performance as Azucena, rising to genuinely tragic heights. She’s well worth hearing, whatever you think of the inequalities elsewhere.”
The Guardian, Tim Ashley (5 June 2008)