SOPRANO

Mozart LE NOZZE DI FIGARO (The Grange Festival)

“Ellie Laugharne’s … vibrant tone is a distinct asset.”
George Hall, The Stage, 10th June 2019

“Ellie Laugharne stood out as Susanna for clarity of tone and quality of legato; tightly-wound, she showed just the right combination of frustration and amusement.”
Dominic Lowe, Bachtrack, 8th June 2019

”Ellie Laugharne grew in authority and impact until a barnstormingly beautiful ‘Deh vieni’ smashed the ball out of the park”
Boyd Tonkin, The Arts Desk, (7th June 2019)

Handel RADAMISTO (English Touring Opera)

“Ellie Laugharne is similarly commanding as Polissena. She acts as a voice for Tiridate’s conscience, and her two major appearances frame the opera. Laugharne has a narrow soprano voice, which she bolsters with a delicate vibrato, to particularly emotive effect in the last act”
Gavin Dixon, Arts Desk, (October 2018)

“Ellie Laugharne [is] a spitfire of a Polissena”
George Hall, The Stage, (October 2018)

“Ellie Laugharne and Katie Bray bring tonal clarity and sensitive style to the virtuous ladies in the cast”
Rupert Christiansen, The Telegraph, (October 2018)

 

Gilbert & Sullivan IOLANTHE (English National Opera)

‘Laugharne shapes her lines with delightful alertness’
Richard Bratby, The Spectator (February 2018)

‘Ellie Laugharne stands out for the sweetness and shape that she brings to her sound as Phyllis.’
Sam Smith, Music OMH (February 2018)

Marcus Farnsworth and Ellie Laugharne are excellent as the dainty Arcadian Strephon and Phyllis.
Aliya Al-Hassan, Broadway World (February 2018)

‘Ellie Laugharne and Marcus Farnsworth made a delightful pair of romantic leads, Phyllis and Strephon, costumed in 18th century Arcadian style complete with mock toile-de-jouy fabric! Both seemed to be having the time of their life, and it was this sense of enjoyment which radiated from the production. Both Laugharne and Farnsworth had the right degree of heft and lyrical charm to make the roles count, and their opening duet was a complete delight and they even managed to avoid being upstaged by the comic business with the sheep. And in their Act Two duet, we got a wonderful clog dance too, a brilliant touch.’
Robert Hugill, Planet Hugill (February 2018)

 

Donizetti THE ELIXIR OF LOVE (Scottish Opera)

“We were rewarded with an agile, well-schooled cast that seized their solo chances while blending together seamlessly. None did this more engagingly than Ellie Laugharne’s Adina, her glamorous trouser outfits suggesting a 1930s fashion goddess, with slim blonde looks, expressive persona and fragrant vocalità to match. This classy soprano made music of Donizetti’s decorative flourishes. She also gave meaning to the words and inhabited the stage like a natural: a joy to behold.”
Andrew Clark, Opera Magazine (November 2016)

“But there are some fine turns, particularly from soprano Ellie Laugharne, whose Adina is breezy and warmhearted, a natural for comic timing, a genuinely magnetic stage presence and a creamy and nimble voice. None of the rest of the cast matches her.”
Kate Molleson, The Guardian (September 2016)

“Ellie Laugharne as the teasing Adina is a constant fascination, both as actor and singer, finding that essential mix of social confidence and private vulnerability.”
Ken Walton, The Scotsman (September 2016)

“Ellie Laugharne sings the role of Adina convincingly, with a rich, potent voice.”
Miranda Heggie, Herald Scotland (September 2016)

Mozart COSI FAN TUTTE, Opera North

“…a versatile Ellie Laugharne as Despina, a cheeky soubrette who at times steals the show as she bustles around as maid, doctor and lawyer. For much of the time she has a faintly Japanese look, with what appear to be red chopsticks in her hair, her soprano is fresh, her diction crystal-sharp. Her Act II aria “A woman at fifteen years old” (Una donna a quindici anni) is truly memorable.”
Richard Wilcocks, Bachtrack (February 2016)

Mozart THE MARRIAGE OF FIGARO, English National Opera (Oct 2014)

“Ellie Laugharne was a delight”
Mark Ronan, Theatre Reviews (October 2014)

“A very fine Barbarina from Ellie Laugharne”
Alexandra Coghlan, The Arts Desk (October 2014)

“Ellie Laugharne gives an eyecatching performance as a tipsy Barbarina, with beautiful ornamentation at the end of her “L’ho perduta”
Charlotte Valori, Bachtrack (October 2014)

Britten TURN OF THE SCREW, Opera Holland Park (July 2014)

“Ellie Laugharne shines as the Governess, saving herself for the final moments, but her voice gleaming throughout”
Erica Jeal, The Guardian (July 2014)

“Rightly, the heart of the opera is Ellie Laugharne’s governess … she combines beauty of sound with nerve-shredding vulnerability”
Neil Fisher, The Times (July 2014)