"Ann Murrays [...] singing of the final one, 'The nurse's song from The Play of Patient Grissell was a master class in the art of sustaining a legato line whilst providing the most telling interpretation."  Music OMH Web, Melanie Eskenazi, December 2012

"Ann Murray makes vivid cameos of Madam Bubble in the Vanity Fair scene (a riot of colour thanks to Sue Wil­mington’s fancy-dress costumes, in marked contrast to her prison wear) and Mrs By-Ends."

Hugh Canning Sunday Times

"ENO favourites Ann Murray and Timothy Robinson twitter and titillate in the multiple leading roles"

Anna Picard Independent on Sunday

"several of ENO’s brightest young hopes – Benedict Nelson and Kitty Whately among them – complement expert old-timers such as Timothy Robinson and Ann Murray in a variety of minor roles."

Rupert Christiansen The Telegraph

"More entertaining singing came from the comprimario roles, a splendidly eccentric triumvirate of Ann Murray as Marcellina" Mike Reynolds Musical Criticism

'...and the double act of Ann Murray’s bird-like Marcellina and Andrew Shore’s explosive Bartolo is treasurable.' Edward Seckerson The Independent

'The best performances come from Marcellina (Ann Murray), dowdy Bartolo (Andrew Shore) and louche Basilio (Alan Oke), three feisty characters in search of a real drama to get their teeth into.'

Andrew Clements The Guardian

April 2012'She made the part just as much her own as she did on the last two outings, continually impressing for her comic sensibility as much as her superb vocal performance. She simply commanded the stage with ‘Pour une femme de mon nom’, her lower register particularly plush and resonant.' John E. De Wald Opera Brittania

'Ann Murray and Donald Maxwell, excel as the La Marquise de Berkenfeld and Hortensius with their brilliant command of comic gesture and timing'

Sam Smith Music OMH

'Ann Murray was in particularly fine comic form as the Marquise de Birkenfield who spirits Marie away from the regiment to her ancestral château, particularly impressive as she plays the piano for Marie's singing lesson while singing her own lines and staying thoroughly in character.'

David Karlin / Bach Track

'Ann Murray again demonstrates her peerless dry comic stagecraft as the Marquise de Berkenfeld'

Graham Rogers / The Stage

'Ann Murray was superbly ridiculous as the traumatised and desperate Marquise de Berkenfield (especially her alternate straight man/fall guy “singing lessons” with Marie and Sulpice: the singing about singing produced some of the best moments in the opera)'

ASH Smyth The Arts Desk