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Rebecca Nash

  • Soprano

Reviews

Rebecca Nash press reviews

Madama Butterfly – Scottish Opera

Central to the whole piece, of course, is the performance of Butterfly herself, and here Scottish Opera score 11 out of 10 for casting Rebecca Nash, who sings with such grace and elegance that we quite forget the ludicrous requirement of the libretto that she be 15 years old. Age is immaterial here: Cio-Cio-San represents all abandoned women the world over.

In a landmark performance, Nash moves from naiveté, through denial to eventual despair with a measured intelligence that matches her magical, honeyed voice. It's an extraordinary achievement.
Stephen Pritchard / The Observer / 1 April 2007

As for Rebecca Nash's Butterfly, she has the voice, the notes, the inner beauty - a rare combination.
Andrew Clark / Financial Times / 5 April 2007

Rebecca Nash brings her considerable acting and singing talent to the role of Butterfly. Here, with the necessary lightness of vocal touch, she creates a 15 year-old girl who is also the embodiment of mature womanhood. Her suicide is not capitulation, but the extinguishing of love itself by Pinkerton’s actions.
Thom Dibdin / The Stage / 4 April 2007

It is hard to believe that Rebecca Nash, the magisterial Butterfly, is the same singer who radiated imperious authority in the recent Scottish Rosenkavalier revival. Here she is wide-eyed, pleading and poignant, but also eloquent, with a way of levelling out into a mezzo-piano at the tops of phrases - an extraordinarily moving trick. She has clearly studied the two styles of movement this role needs: shuffling Japonaiserie and gesturing Italianism. It is all perfectly planned and executed.
Raymond Monelle / The Independent / 13 April 2007

As for the title role, it is a special singer who has the voice, the notes and the inner beauty, all in harmony, as Rebecca Nash’s cio-Cio-San did. …she quickly established herself as a purposeful actor, winning the audience’s sympathy without the slightest indulgence. ?Un bel di’ was gloriously and very audibly sung, with ripe and even tone; the finale had the sort of self-immolating conviction that gives Butterfly her stature. In short, Nash’s performance was touching, which is all one can ever ask of Madama Butterfly.
Andrew Clark / Opera / June 2007

Der Rosenkavalier, Scottish Opera

And at the centre of this grasping whirl is Rebecca Nash’s vulnerable Marschallin: a compelling portrayal of a woman whose aristocratic grace is all that holds her together when her emotional world falls apart. …where it matters most, in her anguished soliloquy about growing old and as she leads off the final trio, she is both touching and ardent.
Richard Morrison / The Times, 6 October 2006

In Rebecca Nash's Feldmarschallin, there was a liquid maturity that reached its height in the exquisite all-soprano trio of the final act;”
Kenneth Walton / The Scotsman, 6 October 2006

…McVicar has a cast that is potentially faultless, making it quite hard to decide who is the protagonist. Is it Rebecca Nash's initially giddy, ultimately forlorn Feldmarschallin; Sarah Connolly's gaunt, observant Octavian; or Daniel Sumegi's articulate, not merely buffoonish, Baron Ochs…”
Conrad Wilson / Glasgow Herald, 6 October 2006

…Rebecca Nash’s Marschallin grows in stature and radiates dignity.
Andrew Clark / Financial Times, 5 October 2006

One is struck by the throttled resentment with which Rebecca Nash's Rubensesque Marschallin submits to the encroachments of age, the fury with which Peter Savidge's Faninal heaps abuse on his wayward daughter, and, above all, in the way in which class divides are temporarily set aside in the communal ostracism of Daniel Sumegi's lubricious, unusually attractive Ochs.”
Tim Ashley / The Guardian, 7 October 2006

The opening scene, with Octavian and Rebecca Nash as the Feldmarshallin in her bed as dawn is breaking, was hot with passion. Nash, however, was superb as she dominated the whole of Act One - receiving Ochs, conducting her business as she is dressed, and finally revealing to Octavian that he will leave her for a younger woman.”
The Scotsman 22 November 2006