‘Laure Meloy’s feisty Brünnhilde was just as superb, her “hojotohos” ringing out rebelliously. But it was that relationship with Stone’s Wotan which was at the heart of this staging, questioning his decision-making, daring to challenge him.’ Mark Pullinger, BachTrack

‘Her mettlesome soprano gleams and shines; she responds acutely to the text, and the role’s wide ranging vocal line has no terrors for her. The depth of her interactions….unbearably moving.’ Katie Barnes, Wagner News

‘Meloy’s Brünnhilde is impressively secure and the final scene for her and Wotan is deeply moving.’ Barry Millington, London Evening Standard

‘I certainly think we will be seeing more of her in the role. The tessitura challenges of the role in this opera (top C’s for the opening and then lots in the mezzo-soprano register) seemed to hold no horrors for her, and throughout this was a beautifully sung account of the role, poised and with bright, forward tone. She gave Brünnhilde a sense of dramatic journey as her unquestioning obedience to her father changed … Her final scene with her father was anxious, intense and thoroughly believable.’ Planet Hugill

‘Laure Meloy sings the enchanting Zaide Aria “Ruhe sanft mein holdes Leben” smoothly to the top, with a substance that seems to extend far beyond the required lyricism.’

One Art is the story of American poet Elizabeth Bishop: successful, gay and prone to drink. Soprano Laure Meloy leads us through letters, readings and a handful of songs. It’s an extraordinary performance, gripping for Meloy’s freshness and nuance, as if the whole thing were unscripted. – The Stage

‘…a soprano with an open, expressive face, and an off centre stage presence…she was never less than engaging. A tremendous singer…the audience were held, almost not daring to breathe. The contrast of a trained soprano and a jazz(y) backing is something I’ve seldom encountered, and it’s sensationally successful, certainly on this occasion.’ Review by Steven Todd, of staged song cycle Wonder Woman


‘Ariel, the mischievous sprite at Prospero’s beck and call, is a tour de force role that calls for supersonic hissy-fits above high C – the sonic embodiment of a musical tempest…Soprano Laure Meloy is astounding in her performance as Ariel, a role that’s a brilliant stroke from Adès’ pen. He has created a serious competitor for Mozart’s Queen of the Night. In this production, Ariel is an airborne theremin, a fireball of fioritura…flitting about on pulleys and wires. Needless to say, she’s a scene stealer.’

‘…ma i famosi versi di Ariel “those are pearls that were his eyes”, che nella voce cangiante, e brillante nonché calda, di Laure Meloy, affascinanoquanto la parte nella foresta delle illusioni, quando i suoni di Adès diventano misterici come nella sua Polaris, e troviamo finalmente un suono che ci rapporta all’esoterismo connaturato della Tempesta del Bardo.’
(…in Ariel’s famous lines ‘those are pearls that were his eyes,’ which in the alternately brilliant and warm voice of Laure Meloy, fascinate like a glimpse into an enchanted forest, and Adès’ sonorities become as mysterious as those in his ‘Polaris’, we at last find a sound that relates to the esotericism inherent in the Bard’s Tempest.)
Livia Bidoldi,

‘…de erőlködés és technikai problémák nélkül győzte a koloratúr „tűzijátékokat”, jól visszaadva egyben a figura játékosságát is.’
([Laure Meloy] sang the coloratura “fireworks” effortlessly and with no technical problems, and portrayed the playful character very well.)

‘Impressive poise and a finished soprano.’ – The New York Times

‘Pleasing flexibility and admirable control.’ – Opera News

‘ETO can be proud of the singers it has assembled, especially…the strongly contrasted Niamh Kelly and Laure Meloy, Helen and Hecuba.’ – FT

‘Laure Meloy’s Queen Hecuba was mesmerising in her steely, unbending pride…she and her absolute opposite, Camilla Roberts’ Andromache, gave an electrifying portrayal of the opera’s conflicting loyalties between family and nation – their stubborn argument about whether to call Hector back from battle was laden with unexploded bombs.’ – MusicDurham

‘Laure Meloy was outstanding in Hecuba’s entreaty to Camilla Roberts’s noble Andromache.’ – The Spectator

‘Laure Meloy made a strong, passionate Hecuba…Meloy here brought a vividly passionate warmth to the role.’ – planethugill

‘Stunningly confident, pure and accurate.’
London Evening Standard

‘Laure Meloy’s thoughtful Queen of the Night was virtuosic and not the usual pantomime caricature of evil.’
The Observer

‘Excellent in alt, her pitching little short of miraculous. ‘Der hölle Rache’ was delivered with real venom.’
Musicweb International


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