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Emma Matthews

  • Soprano

Reviews

Emma Matthews press reviews

Emma Matthews in Monte-Carlo / Deutsche Grammophon CD

“At 40 she is the complete technician: messa di voce, a genuine trill, elegant runs, precise diction, pinpoint pitch with an excellent F-sharp in alt.  Her freely produced lyric soprano is enriched by just enough vibrato to preclude acidity.”
Warren Keith Wright / Opera Magazine / June 2010

La Sonnambula / Opera Australia 2010

This was Emma Matthews's first Amina, and let it be said that she is a fearless artist; she effortlessly scaled the role's treacherous north face, with its impossible tessitura, reaching the summit with elation, not exhaustion, as if she could float off into the heavens above. Her voice may be lighter than one hears from other Aminas, but it is never slight. She looked wonderful.
Michael Shmith / The Age / 3 May 2010

The Cunning Little Vixen / Royal Opera House 2010

Emma Matthews, making her Royal Opera debut as Vixen Sharp-Ears, revelled in the mischievous side of the character.  … when she reached the top of the staff her voice sounded free and crystalline.
Russ McDonald / Opera Magazine / May 2010

Emma Matthews deservedly enjoys a front-rank reputation as a coloratura soprano in her homeland of Australia. … As the Vixen … she made us all fall in love with her.  A child in the audience burst into tears when she was shot dead – no finer compliment could have been paid her performance.
Rupert Christiansen / The Daily Telegraph / 22 March 2010

Emma Matthews offers an impressive house debut as the Vixen herslef: a feisty feminist, red in tooth and claw, yet with a touching vulnerability at the core of her bright, high soprano.
The Times / Hilary Finch / 22 March 2010

Emma Matthews makes a lively Vixen, moving seamlessly from virginal youth to sexy motherhood.
Financial Times / Andrew Clark / 21 March 2010

The Magic Flute  / Opera Australia 2009

The principal pair, Andrew Goodwin (Tamino) and Emma Matthews (Pamina), are noble and true in voice and deed, both displaying gracious attractiveness of sound, which brings touching sincerity to Mozart's and Schikaneder's abjectly sexist story
Sydney Morning Herald / Peter McCallum / 3 February 2009

Lucia di Lammermoor – Opera Australia, 2008

BLOODIED (literally, at least in the tomato sauce sense) but unbowed, Emma Matthews rose to the top E flat at the end of the infamous mad scene of Lucia… and gave it a colour all of her own...…What was refreshing about Matthews's debut in this role was that she gave musico-dramatic meaning to the scene, so the experience became more than simply listening to the virtuosity and wondering when she would fall off (she didn't).
 
Her combination of colour, lightness and agility was there in abundance right from her Act 1 aria, Regnava nel Silenzio, and it gave her portrayal of this role distinctiveness and freshness.
Sydney Morning Herald, 1 August 2008, Peter McCallum

Matthews has always been an intelligent artist and her performance seemed geared towards preserving her strength for the famous mad scene. That said, there was still everything to admire about her pure-toned singing in the first two acts. Long legato lines were smoothly realised and she sustained a strong, supple top register.
When she reached the mad scene, Matthews's voice was more heavily coloured and forcefully projected, but without pushing or straining. Equally impressive was her delicate, soft-grained lyricism and splendid dynamic control in the sotto voce sections, which injected a sweet-natured vulnerability into her character. The rapturous response to her mad scene was thoroughly deserved.
 
…the night belonged to Matthews… she is an artist whose star is firmly in the ascendant.
The Australian, 1 August 2008, Murray Black

…the “mad scene” showed Matthews is truly able to take on the dame’s mantle in Australia.Matthews’ vocal agility earns her an ovation for Il Dolce Suono, well before the final curtain.
The Daily Telegraph, 1 August 2008, Grant Jones