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ATribute to Bach. CD of Bach Flute Sonatas and Arias, Rachel Brown, London Handel Players

http://www.rachelbrownflute.com/bach-trib.html

Andrew McGregor, BBC Radio 3, Record Review, 2nd April 2016

http://www.bbc.co.uk/programmes/b075p03r

"Bete aber auch dabei ... Very slow but so beautiful ... that achingly lovely aria ... Cragg is also excellent in Ich habe genug."

 

St Matthew Passion, London Handel Festival, St George's Hanover Square, London

musicomh.com (March 2016)

"Elizabeth Cragg’s vibrant tone and highly dramatic style were ideal for the soprano arias, and she made the most of her declarations."
 

Das Liebesverbot‚ Chelsea Opera Group‚ Cadogan Hall London
Opera (January 2016)


'Elizabeth Cragg’s Dorella produced fine vocalism in delineating their very different characters'

 

Beg, Borrow Or Steal, London Handel Players, St Mary's Church, Warwick

Leamington Spa Courier (November 2015)

The arrival of soprano Elizabeth Cragg changed the tone quickly. Singing Campra's Cantata Arion, it helps to have a fine voice and to be able to act in telling the story of Arion's musical contest success and his subsequent battle with the thieving, dastardly crew of the vessel taking him home. After the interval, Cragg returned to sing an exquisite Bach Aria from Cantata BWV115, and rounded off the evening with two Handel arias, Cragg's voice carrying wonderfully above the violin and then the flute. As an encore Cragg and Cummings delighted the St Mary's audience with what else but Handel's "As steal's the morn"! What a well choreographed evening.

 

 

Das Liebesverbot (Wagner), Chelsea Opera Group, Cadogan Hall

The Guardian (October 2015)

A large cast tackled some demanding roles with conspicuous success... sopranos Kirstin Sharpin and Elizabeth Cragg respectively seizing the opportunities granted to Isabella’s friend Mariana and her former maid Dorella.

 

St Matthew Passion‚ London Handel Orchestra‚ St John’s Smith Square

MusicOMH.com (June 2015)
'How does a critic begin to describe the most perfectly performed musical experience in many years?...The nine singers’ individual yet easily melded voices provided ever-shifting vocal colour. It is difficult to single out anyone’s performance – all contributed to the creation of a highly emotional evening in which three hours passed in seemingly no time at all'

Le grand macabre‚ Aalto-Theater, Essen
OpernWelt (April 2015)

'In the very first scene Amanda and Amando appear as Sophie and Octavian in Der Rosenkavalier. Had it not been for Ligeti’s oblique carhorn fanfare‚ you might think you were in the wrong piece. Elizabeth Cragg and Karin Strobos sing their intimate thirds so finely tuned that immediately the magic of the good old opera time is set.'

Le grand macabre‚ Aalto-Theater, Essen
Concerti.de (February 2015)

'Heavenly singing from both Elizabeth Cragg and Katrin Strobos.'

Le grand macabre‚ Aaltor-Theater, Essen
KlassikInfo.de (February 2015)

'...the lovers (Elizabeth Cragg as Amanda and Karin Strobos as Amando sing very beautifully)'

Le grand macabre‚ Aalto-Theater, Essen
OpernNetz.de (February 2015)

'...every singer deserves a mention...the touching lovers Elizabeth Cragg as Amanda and Karin Strobos as Amando. Conclusion: a brilliant ensemble performance.'

Il Ritorno d’Ulisse in Patria‚ Iford Arts
Opera (October 2014)

'...the silvery gown (and voice) of Elizabeth Cragg’s goddess Minerva making her shimmering presence as Ulysses’s protecting shadow...Cragg was just one of a wholly impressive cast assembled by Christian Curnyn.'

Il Ritorno d’Ulisse in Patria‚ Iford Arts
Guardian (July 2014)

'...with reflections off the silver gown of the goddess Minerva contributing a pervading aura. Willowy Elizabeth Cragg gives her real presence'

Il Ritorno d’Ulisse in Patria‚ Iford Arts
The Stage (July 2014)

'There are some formidable voices on display...Elizabeth Cragg’s striking Minerva...'

Down by the Greenwood Side‚ Brighton Festival
Telegraph (May 2014)

'The admirably disciplined performance directed by Susannah Waters and conducted by Christopher Stark had all the required panache‚ and Elizabeth Cragg sang the mad woman’s crazy coloratura with aplomb'

Down by the Greenwood Side‚ Brighton Festival
The Sunday Times (May 2014)

'We began out in the courtyard with a dozen spookily distraught women shuffling in blankets round gaunt trees — kindred spirits‚ no doubt‚ of the tragic Mrs Green (Elizabeth Cragg‚ excellent)‚ whose neurotic lament for the infant sons she has murdered is interwoven through the piece.'

Arthur‚ La Monnaie
Financial Times (March 2014)

'...the orchestra’s precision‚ lush sound‚ unorthodox tempi and beautiful ornamentation make this 100-minute evening a musical treat. Four superb vocal soloists (Elizabeth Cragg‚ Reinoud van Mechelen‚ Konstantin Wolff and Claron McFadden) add to the aural pleasure'

 


Peter Grimes‚ London Philharmonic Orchestra‚ Royal Festival Hall
The Sunday Times (October 2013)

'A fine cast was assembled...Elizabeth Cragg and Malin Christensson (Nieces) contributed keenly etched cameos'

Peter Grimes‚ London Philharmonic Orchestra‚ Birmingham Symphony Hall
Birmingham Post (September 2013)

'Among all the other strong contributions...Malin Christensson and Elizabeth Cragg joyously sexy as her accommodating "Nieces"

Peter Grimes‚ London Philharmonic Orchestra‚ Royal Festival Hall
Opera Britannia.com (September 2013)

'The quartet of women was first-rate‚ both individually and together...“Nieces” (Malin Christenssen and Elizabeth Cragg) were done up as Essex slappers...certainly made their vocal mark'

Peter Grimes‚ London Philharmonic Orchestra‚ Royal Festival Hall
The Arts Desk.com (September 2013)

'Malin Christensson and Elizabeth Cragg‚ excellent in the Straussian quartet - suggested that they alone bring colour to the Borough'

Parsifal‚ Hallé Orchestra‚ BBC Prom 57‚ Royal Albert Hall
BachTrack.com (August 2013)

'Each of the six Flower Maidens were balanced beautifully against the female chorus in explicitly seductive strains – Elizabeth Cragg floated perfectly above her siren sisters...'

Mozart Missa brevis K194 & 275 / Regina coeli K127 - Naxos CD
International Record Review (May 2013)

'Elizabeth Cragg takes her solo role with great skill and sensitivity'

Mozart Missa brevis K194 & 275 / Regina coeli K127 - Naxos CD
BBC Music Magazine (April 2013)

'Both are performed with energy‚ clarity and poise by the St Albans Cathedral Choir and the Sinfonia Verdi...The penultimate section is exquisitely lovely‚ and finely sung by Elizabeth Cragg'

Mozart Missa brevis K194 & 275 / Regina coeli K127 - Naxos CD
Naxos.com (March 2013)

'...a good period orchestra‚ and the attractively voiced soprano of Elizabeth Cragg'

St. John Passion‚ Washington National Cathedral
Washington Post (March 2013)

'Elizabeth Cragg’s soprano was fresh and radiant.'

The Love for Three Oranges‚ De Nederlandse Opera
BachTrack.com (March 2013)

"The Princesses of Orange were each remarkable...Elizabeth Cragg sang Ninette with a stunning lightness and subtlety."

The Love for Three Oranges‚ De Nederlandse Opera
De Volkskrant (March 2013)

"This solid cast of singers knows no extraordinary standouts‚ except for the soprano Elizabeth Cragg‚ the desired princess who crawls out from her peel."

Gloria‚ Magnificat‚ Te Deum: Rutter CD - Naxos
Choral Journal (November 2012)

'Soprano Elizabeth Cragg sings with soaring sweetness at every turn'

Orlando Generoso‚ Barber Opera
Opera Magazine (November 2012)

'Particularly memorable was the lament ’Se t’eclissi’‚ almost a template for ’Scherza‚ infida’ from Handel’s "Ariodante"‚ sung by the busy lust-object Angelica (Elizabeth Cragg)'

Orlando Generoso‚ Barber Opera
Music & Vision (September 2012)

'It was the arrival of soprano Elizabeth Cragg as imperial Angelica that lifted this music and staging to a yet higher plane. The voice is pure -- utterly scintillating at best -- and several of Steffani’s arias for her are‚ or came across as‚ like a moving plaint.'

Messiah‚ Harrogate Choral Society
Harrogate Advertiser (December 2011)

'…the beautiful and lyrical soprano voice of Elizabeth Cragg. Her tone had a liquid quality which was quite beautiful to listen to. Her rendition of Rejoice greatly was simply amazing whilst her sense of tenderness in How beautiful are the feet and I know that my redeemer liveth showed tremendous control of tone. This was especially so at the end of this precious aria‚ where Miss Cragg sang with an unbelievably soft pianissimo maintaining perfect control of both tone and support; truly amazing to hear!'

Gloria‚ Magnificat‚ Te Deum: Rutter CD - Naxos
American Record Guide (September 2011)

'The ‘Esurientes’‚ which might be the loveliest Rutter interlude of all‚ is sung gorgeously by soprano Elizabeth Cragg'

Gloria‚ Magnificat‚ Te Deum: Rutter CD - Naxos
Gramophone (August 2011)

'Soprano soloist Elizabeth Cragg is especially melting in the delicious “Esurientes” movement'

Gloria‚ Magnificat‚ Te Deum: Rutter CD - Naxos
David’s Review Corner (April 2011)

'Elizabeth Cragg the silvery voiced solo soprano‚ Tom Winpenny the organist. Very strongly recommended'

Swanhunter‚ Opera North
Opera (January 2010)

'The Swan‚ sung with pinging accuracy by Elizabeth Cragg'

Il Combattimento‚ Netherlands Opera
De Telegraaf (September 2007)

Elizabeth Cragg (Clorinda) is ultimately allowed to die in the most lovely Monteverdi way you can imagine. She does this in a uniquely moving way'

Ariadne aud Naxos‚ Garsington
Opera (August 2007)

'Elizabeth Cragg's Zerbinetta was pert and pretty and confidently sailed through the pyrotechnics of her big aria.'

Ariadne aud Naxos‚ Garsington
Independent (July 2007)

'To watch the scantily attired Elizabeth Cragg scorn the elements with her titillating roulades and dizzying high Ds was to witness heroic efforts above and beyond the call. '

Ariadne aud Naxos‚ Garsington
Independent on Sunday (July 2007)

'A sparkling turn from Elizabeth Cragg as Zerbinetta.'

Ariadne aud Naxos‚ Garsington
Nueu Zërcher Zeitung (July 2007)

'Dank der überragenden Elizabeth Cragg als Zerbinetta gab es in «Ariadne von Naxos» gleich nochmals ein Koloraturfeuerwerk zu hören.'

 

Ariadne aud Naxos‚ Garsington
Oxford Times (July 2007)

'Sometimes it seems that we are the playthings of the Gods. Scarcely had Elizabeth Cragg embarked upon Zerbinettas long solo Grossmächtige Prinzessin - widely regarded as the most fiendishly difficult coloratura aria ever written - than the heavens opened and wind raged. Ignoring the rain cascading onto the stage‚ the heavy surtitle banner swinging precariously above her and the plastic walls of the auditorium cracking like ogre-wielded whips all around us‚ this brilliant soprano sang on. In defiance of the elements‚ she proceeded with the flashy display of roulades‚ trills and darting melody‚ in which were confessed the saucy commedia stars wicked‚ wicked ways‚ as she pouted‚ preened and stretched languorously on her white sofa. What a marvel of control - and thoroughly deserving of the ovation she received from Monday nights first-night audience for Richard Strauss' sublime Ariadne auf Naxos.'

Ariadne aud Naxos‚ Garsington
Guardian (June 2007)

'But the knockout performance‚ astonishing in the circumstances‚ was Elizabeth Craggs Zerbinetta. Vocally assured and with undaunted stage presence‚ she lit up a tempestuous evening more than the fireworks with which the performance ended. Medals have been won for far less.'

Ariadne aud Naxos‚ Garsington
MusicWeb.com (June 2007)

'An exquisite Zerbinetta‚ Elizabeth Cragg seduced the audience with her seamless coloratura and delicate phrasing.'

Ariadne aud Naxos‚ Garsington
The Stage (June 2007)

'Elizabeth Cragg's Zerbinetta scintillates in her famous showpiece aria.'

 

Ariadne aud Naxos‚ Garsington
Times (June 2007)

'This is the battle of the Ziegfeld Follies‚ dominated by Elizabeth Cragg's pert and prettily sung Zerbinetta - part Ginger Rogers‚ part Jessica Rabbit.'