ORPHEUS IN THE UNDERWORLD – English National Opera

“Judith Howarth is a fiery Venus atop the vocal stave.”

The Classical Source, Alexander Campbell (October 2019)

Mahler 8th Symphony – London Philharmonic, Vladimir Jurowski

“Judith Howarth and Anne Schwanewilms standing out in a strong group of soloists”
The Guardian, Martin Kettle (April 2017)

Mahler 8th Symphony – Philharmonia Orchestra, Esa-Pekka Salonen

“Judith Howarth and Elizabeth Llewellyn soared up to soprano heights with ease”
The Guardian, George Hall (July 2014)

The Verdi-Boito Story – Opera Excerpts with the Hallé Orchestra (Elder)

“Judith Howarth took over at short notice as Desdemona …her singing exuded quality.”
Philip Radcliffe, The Arts Desk (November 2013)

“Judith Howarth in glorious voice as Desdemona at the climax of a revelatory evening”
Hilary Finch, The Times (November 2013)

Donizetti MARIA STUARDA – Welsh National Opera

“Howarth, whom we hear too infrequently these days, is all effortless coloratura and thrilling high notes”
Tim Ashley, The Guardian (September 2013)

“The evenings main redeeming feature was Judith Howarth in the title role. One blip aside, she sang with superb technique and richly expressive phrasing, making something both moving and lovely of the two grand finale scenes. Zinging top E flats were icing on the cake”
Rupert Christiansen, The Telegraph (September 2013)

“Equally impressive was Judith Howarth’s thrilling, effortless coloratura as Maria Stuarda, commanding and passionate in the early scenes, movingly exquisite in the finale”
Peter Reynolds, Opera Now (November 2013)

“Judith Howarth in the title role thrilling”
Mike Smith, Wales on Line (September 2013)

“Judith Howarth was in splendid vocal form as Maria, emotionally expressive, simultaneously strong and vulnerable, able to deploy a wide vocal range and some brilliant coloratura. In the final scenes of the opera Howarth transcended the vulgarity which characterised much of the staging and realised Bardari and Donizetti’s conception of a Mary relatively serene and purged, able to approach death freed of the jealousy and desire for revenge which has evidently motivated her earlier. Howarth’s was probably the stand out performance in the cast, but no one let the side down.”
Glyn Purseglove, Seen and Heard International (September 2013)

Verdi REQUIEM – Royal Albert Hall

“The wonderful Judith Howarth really came into her own later in the work, producing a finely controlled, other-worldly tone in the ‘Libera me’, nailing an exquisitely soft high B flat on the word “requiem” and then soaring to a sensational top C at the end of the fugue, and, in a building where you really get the point of a singer’s vibrato, she delivered a quietly poised, fluidly phrased, perfectly pitched ‘Agnus Dei’ with Julia Riley.”
Peter Reed, Classical Source (June 2012)


“Of the four, Judith Howarth’s passionate effulgence towered supreme (she was even more awesome in the earlier Te Deum of Dvorák)”
David Hart, Birmingham Post (November 2011)

Elgar CARACTACUS – Three Choirs Festival (Sir Andrew Davis)

“The five soloists ranged from good to outstanding…Judith Howarth’s nuanced, lustrously sung Eigen demonstrably taking the honours.”
David Hart, Birmingham Post (August 2011)

Puccini MADAMA BUTTERFLY – English National Opera

“Howarth’s full lyric soprano… her generous tone and perfect diction are a constant pleasure.”
Neil Fisher, The Times (June 2009)