MEZZO-SOPRANO

Wagner DAS RHEINGOLD – Longborough Festival Opera

“Madeleine Shaw’s gleaming, imperious Fricka ”
Peter Reed, classicalsource (June 2019)

Handel ALCINA, La Nuova Musica

“Madeleine Shaw is a formidably spirited Bradamante”
Yehuda Shapiro, The Stage (January 2019)

“As Bradamante, Madeleine Shaw brought great strength, clarity and warmth to her mezzo-soprano”
Sam Smith, MusicOMH (January 2019)

“The La Nuova Musica director, David Bates, harried Madeleine Shaw’s Bradamante with hair-raising tempi in her bravura numbers”
Hugh Canning, The Times (January 2019)

Elena Langer RHONDDA RIPS IT UP, Welsh National Opera

“Central to everything was a Brünnhilde of a performance by Madeleine Shaw as Viscountess Rhondda, with the requisite strength and sensitivity in her acting and all the vocal authority one has come to expect from this gifted singer”
Rian Evans, Opera Magazine (Aug 2018)

“Mezzo Madeleine Shaw is an excellent Rhondda, vocally rich and agile”
Steph Power, Opera Now (July/Aug 2018)

“The remarkable story of the viscountess is a gift, and the all-female creative team make the most of it, as does the mezzo-soprano Madeleine Shaw, who plays her with aplomb.”
Rebecca Franks, The Times (June 2018)

“Sudden mood shifts highlight the critical issues, with mezzo Madeleine Shaw proving a superb Rhondda, poignantly supported by singer-actor sisters.”
Steph Power, The Stage (June 2018)

“Madeleine Shaw was strong-voiced and believably charismatic in the role of Margaret Haig Thomas, moving from being light-hearted to serious, and from determined campaigner to besotted lover and back again, embracing musical styles from G&S to torch song with equal conviction.”
Cath Barton, Wales Arts Review (June 2018)

Elgar THE DREAM OF GERONTIUS, Boston Philharmonic Orchestra

“When Gerontius passes away he is joined by his Guardian Angel, a part that was a fine fit for mezzo-soprano Madeleine Shaw. With a smooth tone that brought a child-like touch to the role, Shaw prepared Gerontius for his union with God and venture into Purgatory. Shaw’s singing spiced Elgar’s vocal writing in a few spots—her light, scooping phrases sweetened the word “agony” with a hint of dissonance.”
Aaron Keebaugh, Boston Classical Review (April 2018)

R. Strauss DER ROSENKAVALIER, WNO

“Madeleine Shaw, who seems to become an ever more accomplished singer in range and tone, was a very fine Annina”
Rian Evans, Opera Magazine (August 2017)

Handel SAMSON, Irish Baroque Orchestra

“Madeleine Shaw excelled as Micah; mellifluous, balanced and relaxed, she conveyed her heartfelt concern for Samson very well. There was deep nobility to the phrasing of “Ye sons of Israel, now lament” while the aria at the end of act one “Then long eternity” was profoundly moving.”
Andrew Larkin, Bachtrack (January 2016)

Elgar DREAM OF GERONTIUS, RLPO (Petrenko)

“The mezzo Madeleine Shaw was a late replacement, but made one sit upright from her first entry. The Angel is traditionally cast with a plummier, darker voice, though Shaw’s brighter tone glowed with a Wagnerian penumbra befitting a piece that owes more to Parsifal than the English oratorio.”
Alfred Hickling, The Guardian (June 2015)

Tippett A MIDSUMMER MARRIAGE, BBC Symphony Orchestra (Andrew Davis), BBC Proms

“…while Madeleine Shaw’s distinctive, sinewy mezzo and verbal clarity made one wish, not for the first time, that the composer had given a fairer crack of the whip to She-Ancient.  Shaw’s is a shining talent: a potential Amneris for the notebook”
Christopher Webber, Opera Magazine (Oct 2013)

Handel IL PASTOR FIDO  – Harmonia Mundi CD

“…the most theatrically gripping singing comes from mezzo, Madeleine Shaw as Dorinda, above all in her haunting aria of masochistic devotion after she has been wounded by the idiotic Silvio’s arrow.”
Richard Wigmore, Gramophone Magazine (June 2012)

“The young cast turn in more than creditable performances, especially so in the case of the Eurilla of Katherine Manley, projected with considerable vocal allure, and the lovely Dorinda of the mezzo Madeleine Shaw.  This is an exceptional voice with a lustrous, burnished quality, and its owner uses exquisite mezza voce and trills with great stylistic awareness”
Brian Robins, Opera Magazine (April 2012)

R. Strauss DER ROSENKAVALIER – English National Opera

“Adrian Thompson (Valzacchi) and Madeleine Shaw (Annina) are superb, vocally and dramatically, individually as well as in their double act.”
Musical Criticism, Agnes Kory (Jan 2012)

“Adrian Thompson and Madeleine Shaw made an exceptionally slimy pair of intriguers”
Russ McDonald, Opera Magazine (April 2012)

Verdi OTELLO – BBC Philharmonic (Noseda/Bridgewater Hall)

“…young Madeleine Shaw’s Emilia, strong and true”
The Times, Hilary Finch (April 2011)

A CHILD OF OUR TIME – Northern Sinfonia (Zehetmair/The Sage)

“Madeleine Shaw is a rising young singer with the kind of plush contralto you do not hear very often”
The Guardian, Alfred Hickling (Sept 2010)

RIGOLETTO – English National Opera (2009)

“Madeleine Shaw (Maddalena) made much of this small role, bringing to it a rounded fullness of tone..”
Musical Criticism, Alexandra Coghlan (Sept 2009)

“Madeleine Shaw impresses as the selectively susceptible Maddalena”
The Times, Richard Morrison (Sept 2009)