Verdi LUISA MILLER (English National Opera)

“Llewellyn has been absent from the Coliseum for too long, but she returned in triumph, singing throughout with a full-throated ease that amply filled the auditorium and portraying the character with a vivid naïvety that even the production’s vacuity couldn’t blur.”
Rupert Christiansen, The Telegraph (February 2020)


Verdi AIDA (Theater Bielefeld)

“Elizabeth Llewellyn chose Theater Bielefeld for her role debut as Aida…and she has given a gift to the theatre! For her interpretation of this role was highly expressive, touching, and vocally of the very highest quality. She was at the centre of this production at all times, even when she had nothing to sing. Her gestures, her body language, were always like a mirror of her interpretation of Aida. Her solo scenes were sung in a grand and penetrating manner, outstanding in the ensembles. The way she used vocal means to express the feelings of the Aida was an experience. A really great debut as Aida, for which she was celebrated by the opening night audience with ovations. BRAVO!”
Detlef Obens, Das Opernmagazin (December 2019)

“Elizabeth Llewellyn, daughter of Jamaican parents, gave an Aida of enormous dramatic urgency….The highly dramatic British soprano effortlessly outshines the concentrated sound of the choir and orchestra, and has a poignant vocabulary of lamentation – an ideal piece of casting for this Bielefeld staging.”
Johannes Vetter, Neue Westfalische (December 2019)

“…the great Elizabeth Llewellyn, who has just hurried from her New York debut at the Met to Germany succeeds as an Aida bringing her innermost feelings out. Her soprano has tremendous power and size, but she also masters the delicate, heart-breaking singing.”
Uta Jostwerner, Westfallen Blatt (December 2019)


Puccini MANON LESCAUT (Opera Holland Park)

“she relaxed and released a wonderfully expressive and dramatic flood of glorious colour, the wait was proven more than worthwhile. In fact, the slight frailty at the start was not inapt, capturing as it did some of the innocence of the young Manon […] and the blossoming of Llewellyn’s soprano in the final two Acts communicated the maturity and growth borne of Manon’s experiences. Llewellyn exploited the full range of her soprano, including a rich chest voice, encompassing a vast emotional spectrum and sensitively capturing Manon’s femininity. As Manon finds herself at the limits of her resilience, so Llewellyn pushed her soprano to its limits, though never sacrificing her creamily smooth legato, with compelling power and effect. As her voice recovers fully, Llewellyn’s performance will be a persuasive reason to see this production.”
Claire Seymour, Opera Today (June 2019)

“Elizabeth Llewellyn has an exciting voice for Puccini, silvery and vital. […] The final act brought more power, and a tantalising glimpse of what this fine singer might offer later in the run.”
Erica Jeal, The Guardian (June 2019)

“Llewellyn […] gives full rein to her powerful soprano that never loses the crucial fragility it requires to illustrate Manon’s disastrous decision making.”
Gary Naylor, Broadway World, (June 2019)

“The redeeming feature of the evening was Elizabeth Llewellyn’s kittenish Manon, sung with a stylistic delicacy and refinement of phrasing otherwise entirely absent from a lamentable misfire of a performance that I will now do my utmost to forget.”
Rupert Christiansen, The Telegraph (June 2019)

“Treading a careful vocal line following her recovery from a throat infection, Llewellyn nevertheless established that her peaches-and-cream soprano and generous phrasing are ideal casting.”
George Hall, Financial Times (June 2019)

“it’s a terrific instrument, brightly coloured, expressive and rich. […] the voice seemed in near pristine condition. Llewellyn is one of those performers so naturally elegant on stage that she imbues her heroines with a certain noble grace, even as she is lined up in Act 3 as a sex slave.”
Dominic Lowe, Bachtrack (June 2019)

“Star quality comes at last with the elegant and slightly sphinx-like presence of Llewellyn’s Manon”
David Nice, The Arts Desk (June 2019)

Boito MEFISTOFELE (Chelsea Opera Group)

“Soprano Elizabeth Llewellyn sang the double role of Margherita and Elena, bringing an ideal combination of power and lyrical flexibility to the roles. Her Margherita was beautifully sung with a convincing and touching naivety, yet expansive in the more lyrical moments and with a surprising strength when she denies Faust just before her death. By contrast, Llewellyn’s Elena was wonderfully radiant and rightly seductive.”
Robert Hugill, Planet Hugill (March 2019)

“Elizabeth Llewellyn, playing both Margherita and Elena, was marginally more suited to the latter, though her singing had great beauty and poise.”
Tim Ashley, The Guardian (March 2019)

“Elizabeth Llewellyn was at her radiant best in her two incarnations as Margherita and Elena, differentiating the two beautifully. As Margherita in love she unleashed waves of powerful velvety sound but then found exactly the right sense of pathos and stillness as she is imprisoned and seeks salvation. As Elena she was full of dangerous allure. The wide-eyed faces of the Capital Arts Children’s Choir (a distinct asset to the evening) marvelling at it was a delight!”
Alexander Campbell, Classical Source (March 2019)

“She commanded the attention of all in the Queen Elizabeth Hall during the Act 3 prison scene, her soprano falling with a slight duskiness and rising with a rapturous sheen, the projection easy and the phrasing beguiling. […] she spun an exquisite, gentle pianissimo; and, when she prayed to God for salvation and rejecting Faust, her dying phrases conveyed every drop of emotional intensity.”
Claire Seymour, Opera Today (March 2019)

“Elizabeth Llewellyn has a more opulent, softer-grained tone than Bemsch, but soprano and tenor complemented each other beautifully in ‘Lontano, lontano’. Alert to every aspect of the drama, Llewellyn brought wrenching pathos to the role of Margherita and sweeping grandeur Elena (Helen of Troy) in a performance that bodes well for Manon Lescaut at Opera Holland Park.”
Yehuda Shapiro, Opera Magazine (June 2019)

A Sea Symphony (BBC Symphony Orchestra) [CD – Hyperion]

“Both Elizabeth Llewellyn and Marcus Farnsworth sing with attractively fresh timbre and impeccable enunciation, their memorably unforced contribution reminding me somewhat of Sheila Armstrong and John Carol Case on Adrian Boult’s stereo recording (EMI/Warner, 12/68); listen from 14’37” in the finale (‘O soul thou pleasest me, I thee’) to hear them at their intimate best”
Andrew Achenbach, Gramophone Magazine (October 2018)

“[Llewellyn’s] fine soprano rides the choral waves thrillingly”
Anthony Burton, BBC Music Magazine (November 2018)


Cio-Cio San – Madama Butterfly (Royal Danish Opera)

” This was an impressive role debut from Elizabeth Llewellyn. She has clearly worked hard on Butterfly and appears to have internalised the role. She sounded natural in the low tessituras from which the role creeps upwards and had the power to soar above the orchestra in Act II. […] Most impressive in an overall sense was the vocal charisma she brought to the role, even when sentiments were at their darkest.”
Andrew Mellor, Opera Now (July/August 2018)

“Llewellyn’s soprano has wonderful fullness and her all-embracing and sweet Butterfly catches Act 1 in the second and third acts so you feel the heartbreaking longing and the unbearable situation she is in. Elizabeth Llewellyn’s fine interaction with the charismatic mezzo soprano Johanne Bock [as] Suzuki, must be emphasized.”

“…the English soprano Elizabeth Llewellyn sings brilliantly as Cio-Cio San, Madame Butterfly”

“Elizabeth Llewellyn’s portrayal of Cio-Cio San, better known as Madame Butterfly, was exquisite as she conveyed the personal anecdote of this geisha wife through her angelic vocals. Her beautifully layered singing reverberated through the entire room and made a world outside of her perfectly pitched notes seem obsolete.”
The Copenhagen Post

Magda de Civry – La Rondine (Opera Holland Park), June 2017

 “Elizabeth Llewellyn is a British soprano… whose rich, lyric instrument produced refined tone at every point in her wide range and whose sense of Puccinian style was consistently impressive; she brought to the role of Magda glamour, sophistication and a voice it would be hard to match anywhere in terms of beauty and color.”
Opera News

“The aria, Doretta’s Song, is truly memorable, and especially well sung here by the British soprano Elizabeth Llewellyn, a fine Verdian possessed of a voice that effortlessly fills OHP’s big tent with gloriously unforced sounds.”
Mail on Sunday

“Llewellyn and Lippi soared again in the final duet, and…Llewellyn showed how to make it count with sheer beauty of line and a glorious sheen to the voice. This certainly showed how having a real spinto soprano in the role can count.”
Opera Today

“…Magda’s Chi il bel sogno di Doretta, which Llewellyn sings lusciously with her warm, smoky tone and gleaming high notes…Both leads rise magnificently to their passionate duet in Act III, when it becomes clear that they cannot live together, Llewellyn unleashing her Tosca voice (which she has already shown off in Germany) with plenty of “spinto” blade… A huge OHP hit: Llewellyn is a star.”
The Sunday Times

“To ice the cake in shades of yellow and scarlet, Elizabeth Llewellyn sang Magda with a voice of pure operatic joy. Her soprano timbre, rich, powerful and faintly smoky, was irresistibly seductive and multi-layered, and somehow she found heartbreak in the score’s simplicities. […]Llewellyn is an exceptional artist who oozes star quality and ought to be top of the ‘grab’ list for any half-decent UK casting director, but for some reason isn’t. Don’t miss this too-rare opportunity to hear her: she’s a great singer at the peak of her craft.”
What’s On Stage

“…a voice that threaded its lovely way seamlessly across all of Puccini’s bar-lines, never striking a less than entirely lovely sound: she is a truly special artist.”
Opera magazine

“The night belongs, though to Elizabeth Llewellyn as Magda and Matteo Lippi as Ruggero. Llewellyn has a voice like best dark chocolate in the lower register and crystal clear water in the upper. She achieves an impressive variation of tone and packs in huge amounts of immaculately acted emotion. Her reading aloud of the letter from Ruggero’s mother in the third act is a good example of impassioned excitement mixed with horror. It is a very fine performance indeed.”
Lark Reviews

“When are the big international opera houses going to wake up to the great British talent that is Elizabeth Llewellyn? With her opulent soprano – shaded middle register, full bloom at the top, cutting chest voice – she was born to sing Verdi and Puccini, and her stage presence is undeniable from the moment she steps out… our hearts are with her from the start.”
The Artsdesk

“It’s a role that requires wit, grace, elegance and the ability to float seraphically above the stave – all qualities that Llewellyn has in abundance. She plays exquisitely with the phrasing of Magda’s one showpiece aria, “Che il bel sogno di Doretta”, and rises confidently to its moments of climax, but mostly one appreciates the sheer charm and lightness of touch with which she paints the chattier aspects of her music.”
The Telegraph

“Magda is one of Puccini’s top vulnerable heroines, and the role is magnificently sung by Elizabeth Llewellyn, blessed with a voice of sumptuous range, security and fullness; you first hear her generous lower range, which as it expands higher keeps its character and flexibility. Llewellyn also has a powerful presence; she is compelling as the worldly woman taking one last chance at love, and easily strides between archetype and straightforward characterisation. In every respect she rises to the occasion.”
Classical Source

“…yet again Llewellyn…proved what a fabulous Puccini soprano she is.  The voice is a good size with a smoky lower register, a velvety middle of complex depth and a top that opens up magnificently… Her Magda was vulnerable, hopeful and determined just as she should be.”
Opera Traveller

“Elizabeth Llewellyn successfully combines sophistication and sincerity….her voice is ideally warm and lyrical, and easily fills the theatre. Opera Holland Park is lucky to have her.”
Financial Times

“The soloists were led by, and effectively overshadowed by, Elizabeth Llewellyn …She was thrilling, living the role throughout and with full vocal and dynamic range. In act three, Llewellyn and the orchestra conspired to provide moments of magic in her soliloquy as she reminisces; her pitching, too, was noteworthy in its accuracy. Magda’s love scene with Ruggero was one of the evening’s many highlights; she effectively lifted it to another level.”
Seen & Heard International

“Elizabeth Llewellyn is a perfect Magda, warm and lively yet wistful in her Act I soliloquy.”
Mark Ronan

“Singing Magda, Elizabeth Llewellyn has obvious stage presence and the vocal stature to go with it; the bottom of the voice is full and has an appealing spice to it that makes it quite distinctive, while her middle is luxuriously warm….Commitment to the role was absolute, from the grace of her salon presence, through breathless excitement in Bullier’s, to her sacrifice in the third act.”

“Elizabeth Llewellyn gives a stand-out performance as Magda, showing the delicate touches of her range against the power of her top flight displayed through the bigger numbers, making this production worth a visit for her performance alone.”
The Arbiturian

“It is, however, Elizabeth Llewellyn as Magda and Matteo Lippi as Ruggero who make the evening special. Llewellyn has the precision and focus to make her vocal line feel sweet and clean, but her soprano is also blessed with richness and strength that gives both her sound and the character a good deal of weight.”
Music OMH

“As Magda, Llewellyn commands the right blend of wry self-knowledge and creamy expansive tone to cover her character’s transition from bored semi-retired performer to radiant lover and regretful realist. She also finds real warmth and tenderness in the final scenes, which carried across into the arena.”
Live Theatre UK

TOSCA (Theater Magdeburg), October 2016

“Tosca operates entirely as a prima donna, both in her set-up jealousy as well as in her iron loyalty. Only alone with her lover is she human.

Elizabeth Llewellyn plays these changes as closely as she interprets them vocally. For coquettish and playful she finds warm heart-tones. The sound of each note is beautiful, but the vocal-acting makes her Tosca outstanding.”

“In the case of “Tosca” [Theater Magdeburg] has engaged a downright dream-cast, which every major house might envy: in the first place to mention is the English soprano Elizabeth Llewellyn who sings and plays a glowing, passionate Diva.”
MDR Radio, Dieter David Scholz

Suor Angelica & Giorgetta –  IL TRITTICO(Royal Danish Opera), 2015 & 2016

“Indeed, the Suor Angelica in particular moved me immensely, especially due to Elizabeth Llewellyn’s sensational debut in the title role… Elizabeth Llewellyn’s role debuts were absolutely thrilling. She was a fine Giorgetta but it was really as Angelica that she gave a truly overwhelming performance. The voice has a beguiling combination of duskiness and velvety warmth. It’s a good size and she rode the orchestra with ease. Her Angelica was shattering, her acting completely raw and so immediate, her vocalism so full and generous that one could not help but be moved. This is a significant role debut for this excellent British soprano, one I hope she will return to very soon.”

“Elizabeth Llewellyn [is] strong, open and pivotal as hybrid Giorgetta/Angelica”
Andrew Mellor, @operalastnight

“The young wife Giorgetta, the evening’s greatest joy and surprise, is sung by Elizabeth Llewellyn”

“[Angelica’s] aria, which is not known, is redeemed in the best way by the guest Elizabeth Llewellyn who is flown in from London… But in Suor Angelica she unfolds with the finest nuances and volume so that this neglected opera becomes interesting. Beautiful.”

“The two essential singing stars are sovereign. Bass-baritone Johan Reuter and soprano Elizabeth Llewellyn both have double-roles. Elizabeth Llewellyn creates both a challenging and promiscuous Giorgetta, scintillating among a host of stevedores, and a contrite Angelica, ostracized by both fellow prisoners and guards.”


Mimi  – La Bohème – (English National Opera, 2010 & Theater Magdeburg 2015)

“With her impressive vocal range and her spectacular stage presence she received applause time and again.”
Volkstimme, 2015

“Much more appealing was Elizabeth Llewellyn, who enjoyed huge success with the audience… her full lyric soprano, with its distinctive timbre and warm middle register, sailed through everything else with winning grace and excellent diction.”
Rupert Christiansen, The Telegraph

“Making her debut in the role of Mimi, Elizabeth Llewellyn adds to her growing reputation for tackling major roles. Her solos, particularly in the final scene, enable her to show off the pure soprano voice to perfection.”
Daily Express

“But it is Llewellyn, gorgeously toned and rapturous, who is the evening’s real star.”
The Guardian

“Mimì was sung by the young soprano Elizabeth Llewellyn, making her ENO debut. It’s hard to imagine a better debut: Llewellyn’s voice has a lovely warm timbre, she sang with clarity and precision, and she is a credible actress.”

“As Mimi, she of the frozen extremities, the creamy-voiced Elizabeth Llewellyn continues in her career-defining role. This enchanting lyric soprano brings a vulnerability and passion to the drama… for this revival, overseen by Jonathan Miller himself, dramatic balance is restored and Llewellyn’s Mimi is able to break our hearts.”
Classical Source

“Elizabeth Llewellyn’s warm buttery soprano lent itself admirably to the role of Mimi and she handled the balance between pathos and conviction in her performance perfectly. Her exchange of arias with Hughes Jones in Act I was particularly moving, as was her final scene…”
Music OMH

“Llewellyn (…) has a distinctive and very attractive soprano – warm, passionate, large but not forced, with a mezzo hue that will surely suit her Countess for Holland Park next summer”
Opera magazine

“Rising star Elizabeth Llewellyn makes a bigger splash with her house debut as Mimi. (…) the sumptuousness of her lower register promises great things.”
(The Stage)

“Mimi herself was the star of the show, gloriously sung by Elizabeth Llewellyn, making her ENO debut. This is a young woman to watch out for”
Mark Ronan’s Theatre Reviews


Donna Elvira –  Don Giovanni – (Bergen National Opera), March 2015

“Both the donne were in formidable command of their coloratura…Elizabeth Llewellyn characterizing Elvira with a formidable blend of double cream and gleaming metal”.
Opera magazine

“The ladies…are brilliant in their own way. Elizabeth Llewellyn had authority in her interpretation of Donna Elvira.”
Bergen Tidende


Elsa – Lohengrin (Theater Magdeburg), September 2014

“In her debut as Elsa, Elizabeth Llewellyn reaped a huge personal triumph. With well-nigh-perfect diction, she modulated her ever-so-slighty smoky timbre from the dreamy forlorness of the first scenes to an unusually strong confrontational tone. Her voice carried to the furthest nook, even in the pianissimo passages, and – almost alone in the cast – she seemed to have power in reserve during even her most outgoing effusions.”
Opera magazine

“A beguiling luminous voice that alternates between perfect dreamy sounds and effortless power, and on top of that offers exemplary diction. This must be a name to remember.”
Neue Musik Zeitung

“For Elizabeth Llewellyn as Elsa one was drawn in as soon as she opened her mouth. Innocent, dreamy, she exuded loveliness in chaste euphony to the scene in the bridal chamber. There she comes to life… ”

“Elizabeth Llewellyn in her role debut as Elsa, alone succeeded out of the whole line-up! The Briton who only lately changed in singing repertory, has a balsamic blossoming soprano with bright timbre,  with nuanced responsiveness even in her lower register. Already in this her first German-language role she convinced with a characteristic voice leading that – coupled with strong stage-presence – gave the viewers a compelling potrait of the role. ”

“Vocally, the evening was coined by the the two main protagonists. With special attributes should we indeed deal sparingly, but what Elizabeth Llewellyn offered as dreamy Elsa was simply sensational! As well being theatrically completely convincing this singer, with  a balanced soprano with its full timbre and all-round gleam, outshone the ensemble, also having no intonation difficulties at the top of her voice. She had at her Wagner debut already excellent standards. ”

“More intense and free in her acting was Elizabeth Llewellyn as Elsa. That she is a stranger and that she is more at home in her dream-world than in this theater of concrete and militancy, she conveyed musically and made dramatically credible.”