Lisa Milne press reviews
Welsh National Opera – ‘The Sacrifice’ – September / October 2007
"The passionate Act II duet for the daughter and her discarded lover [was] finely sung by Lisa Milne."
Stephen Walsh, The Independent, 01 October 2007
"The sustained, adulterous love-duet in Act II [was] splendidly taken by Milne and Melrose…[The work] could not have been brought off better."
Paul Driver, The Sunday Times, 30 September 2007
"Lisa Milne as Sian made the most of her gilded, blooming soprano."
Keith Clarke, Music America, 30 November 2007
"Lisa Milne gives the performance of her life as Sian."
Andrew Clark, The Financial Times, 23 September 2007
"Milne is radiant in Sian's long laments."
Anna Picard, The Independent, 30 September 2007
"Lisa Milne is simply splendid as Sian."
Bill Kenny, Seen and Heard, September 2007
"Lisa Milne sings voluptuously."
Richard Morrison, The Times, 24 September 2007
"Lisa Milne sang alluringly as Sian… An effective, creditable achievement."
Rupert Christiansen, The Telegraph, 24 September 2007
English National Opera – ‘The Marriage of Figaro’ – November 2006
"She beguiles us with some of the best singing of the evening."
Edward Seckerson, The Independent, 06 November 2006
"Milne sings her two great arias beautifully."
Anthony Holden, The Observer, 05 November 2006
"Her performance is touching and thoughtful."
Warwick Thompson, Bloomberg, 03 November 2006
The Financial Times, November 2006
"Lisa Milne ardent and anguished as the Countess…"
Richard Morrison, The Times, 04 November 2006
Glyndebourne Festival Opera – ‘Fidelio’ – July / August 2006
"The supporting cast is excellent too, especially Lisa Milne as the angry Marzelline."
Warwick Thompson, Bloomberg News, 07 July 2006
"Lisa Milne…offers the night’s most dynamic portrayal."
David Gutman, The Stage, 06 July 2006
"Lisa Milne in glorious form…"
Hilary Finch, The Times, 06 July 2006
"…exquisitely sung by Milne…"
Anna Picard, The Independent, 11 July 2006
"Lisa Milne sings a bright and bubbly Marzelline…"
John Allison, The Telegraph, 15 July 2006
Glyndebourne Festival – ‘Die Zauberflöte’ – Summer 2005
"Happily the Pamina, Lisa Milne, is a singer who can take advantage of the expressive possibilities. Ms. Milne's line is faultless, pure in sound and beautifully phrased, but perfection here only increases the ache of sympathy. This Pamina may come from a different world, but she is at heart as natural a being as Papageno. She can also intimate, in the scene of her attempted suicide, an anger inherited from her mother - but an anger that is positive, not spiteful."
Paul Griffiths, New York Times, 24 May 2005
"The most interesting soloist is the Pamina of Lisa Milne, whose singing is so brimful of ideas and emotions that she has come close to outgrowing the role."
Richard Fairman, Financial Times, 25 May 2005
"An exceptionally sensitive and musical soprano who made perfect sense of Mackerras’ unusually fast tempo for the G-minor lament."
Max Loppert, Opera, August 2005
"Milne is a wonderful Pamina, with a rich flute-like voice and a gift for both lightness and pathos."
Warwick Thompson, Bloomberg.com, 23 May 2005
"Lisa Milne returns as a delectable Pamina."
Michael Kennedy, The Sunday Telegraph, 29 May 2005
"[An] exquisitely sung Pamina…"
Hilary Finch, The Times, 24 May 2005
Metropolitan Opera – ‘Die Zauberflöte’ – April 2005
Martin Bernheimer, Opera, June 2005
Strauss: 'Vier Letzte Lieder' - WNO Orchestra / Koenigs - May 2010
"Soprano Lisa Milne gave a measured, insightful interpretation of each song, coaxed and guided by conductor Lothar Koenigs at the helm of this fine orchestra. She was particularly impressive in the second and third songs, September and Going to Sleep which, I must admit, had me closing my eyes in peaceful contemplation."
Peter Collins, South Wales Echo, 10 May 2010
Musgrave: 'Songs for a Winter's Evening' - BBC SSO / André - February 2010
"Soprano Lisa Milne was in her best form, capturing the swinging moods of the vocal line with sincerity and charm."
Kenneth Walton, The Scotsman, 13 February 2010
"One superior performance lay at the heart of the programme: Lisa Milne’s glorious performance of 'Songs for a Winter’s Evening', Thea Musgrave’s fantastically orchestrated settings of seven Burns songs.
Despite moments of serenity, coquettishness and languor, Milne’s perceptive singing revealed, to this listener, the dark side of Burns…Bleak realism was at the core of the performance."
Michael Tumelty, The Herald Glasgow, 15 February 2010
Faure: 'Requiem' – Royal Scottish National Orchestra / Deneve – January 2010
"Sheer beauty of tone…"
Michael Tumulty, The Herald (Glasgow), 18 January 2010
Handel: 'Arianna in Creta' – Academy of Ancient Music / Hogwood, May 2009
"Best for embodying feelings was Lisa Milne as Alceste, one of those “opera seria” characters doomed to love at cross-purposes. Handel helped Milne to victory with the wonderful aria Son qual stanco pellegrino, ringed with aching cello solos; but she sang with heart even in more perfunctory stretches."
Geoff Brown, The Times, 13 May 2009
Royal Festival Hall – Vaughan Williams: Dona Nobis Pacem & Symphony no. 3 – Philharmonia / Hickox, November 2008
"The sensitive soloist Lisa Milne penetrated the heart of the texts (Dona nobis pacem). Milne’s off-stage soprano hovered over the finale like a wraith (Symphony no 3)."
Geoff Brown, The Times, 11 November 2008
City Halls, Glasgow – Strauss: Orchestral Songs – BBC SSO / Minczuk, April 2008
"The five-star element in the programme came from the performance by Lisa Milne of half a dozen of Richard Strauss’s most glorious songs: six of the best, indeed, with Zueignung, Allerseelen, Freundlichen Vision, Befreit, Morgen and Cacilie all sung wonderfully by the soprano in her most luxuriously voiced form, and with just the right weightless quality to allow the great Freundlichen Vision to float."
Michael Tumelty, The Herald, Glasgow, 18 April 2008
Royal Festival Hall – Mahler Symphony no. 4 – Philharmonia / Briger, March 2008
"The excellent Lisa Milne entered at the climax of the third movement. Her lovely voice made great, and endearing, play of dotted rhythms. She almost acted out the text (Mahler's vision of Heaven, taken from the Wunderhorn poetry of which he was so fond). At last Briger had found a musical partner rather than an adversary, and how it showed, with a true sense of transcendence in the air for the final depiction of the music of other worlds."
Colin Clarke, Seen and Heard, 29 March 2008
MacMilan: ‘The Sacfrifice’ – WNO / Negus (Chandos, 2010)
"…a set of performances of the highest calibre. Without exception, the singing is outstanding. Lisa Milne sings Sian with the constrained passion and tortured resolve that are fundamental to the role."
Christopher Ballantine, Opera, May 2010
Musgrave: ‘Songs for a Winter’s Evening’ – BBCSO / Vänskä (NMC, 2009)
"These are unmistakably and beautifully contemporary reminiscences, sung exquisitely by Lisa Milne."
Christopher Dingler, BBC Music Magazine, September 2009
Beethoven: ‘Fidelio’ – LPO / Elder (Glyndebourne Festival Opera Live, 2009)
"Lisa Milne makes a very attractive Marzelline and gives a lovely account of her aria, helped greatly by some delightfully buoyant playing from the LPO winds."
Hugo Shirley, Musical Criticism, 10 May 2009
Songs of Francis George Scott / Burnside (Signum, 2007)
"Milne was an ideal choice for this recording: she understands the idiom instinctively and delivers readings that do words and music equal justice."
Martin Anderson, International Record Review, September 2007