Christine Rice


Christine Rice is one of the leading British mezzo sopanos of her generation. A regular performer at the major European opera houses including Covent Garden; the Bayerische Staatsoper, Munich; Frankfurt Opera; the Teatro Real, Madrid and English National Opera she has built a reputation both as a singing actress and a Handelian of the highest order.

For the Royal Opera, Covent Garden her roles have included Judith Duke Bluebeard's Castle,  Concepcion L'Heure Espagnol, the title role in The Rape of Lucretia, Giulietta Les Contes d'Hoffmann, Hansel, Carmen and she created the roles of Miranda and Ariadne in the world premieres of Adès' The Tempest and Birtwistle's The Minotaur. For English National Opera her roles include Dorabella Cosi fan tutte, Marguerite La damnation de Faust and Arsace Partenope. Other notable roles include Penelope Il Ritorno d'Ulisse for Frankfurt Opera; Diana La Calisto for Geneva Opera; Beatrice Beatrice et Benedict for the Opera Comique in Paris; Carmen for the Deutsche Oper Berlin and the title roles of Ariodante and Rinaldo for the Bayerische Staatsoper. She recently made her debut at The Metropolitan Opera, New York as Hansel and Giulietta Les contes d’Hoffmann.

Christine also has a very busy concert career, appearing throughout the UK, Europe, North America and at the BBC Proms and Edinburgh International and Aldeburgh Festivals working with conductors that include Sir Antonio Pappano, Sir Mark Elder, Edward Gardner, Fabio Luisi, Sir Andrew Davis and Yannick Nézet-Séguin.

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    The Rape of Lucretia, Glyndebourne 2015



Middle Temple Hall, LONDON

HAYDN: Arriane a Naxos
RAVEL: Chansons Populaires
Chanson Espagnole; Chanson Francaise; Chanson Italienne; Chanson Hebraique

RAVEL: Kaddisch



Piano: Julius Drake

Barbican Centre, LONDON

Bartók Concerto for Orchestra
Peter Eötvös Senza Sangue (UK premiere)

Conductor: Simone Young

Baritone: Russell Braun

BBC Symphony Orchestra

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Les Contes d'Hoffmann

Royal Opera House

'...Christine Rice brings a rich-toned mezzo to Giulietta ...'

Clare Colvin, The Express, 13 November 2016

'Christine Rice likewise dazzles as the sensuous erotic courtesan Giulietta...'

Cara Chanteau, The Independent, 8 November 2016

'The women are excellent. Sofia Fomina’s Olympia, with her steely, clockwork coloratura, contrasts nicely with Christine Rice’s truly dangerous Giulietta.'

Tim Ashley, The Guardian, 8 November 2016

'Christine Rice’s sumptuous Giulietta was the pick of Hoffmann’s amours...'

Rupert Christiansen, The Telegraph, 8 November 2016

'Christine Rice vamped it up as the glamorous courtesan, Giulietta, her plum-rich mezzo contrasted with Lindsey’s lighter voice in the famous Barcarolle.'

Mark Pullinger, Bach Track, 8 November 2016

'...Christine Rice, as Giulietta, the Venetian, was marvellous in her far too small role.'

Michael Tanner, The Spectator, 3 December 2016

'Christine Rice's lovely, big mezzo supplied some genuine sensuality to Giulietta's odalisque languor, and she and Grigolo were a formidable pair in their duet.'

Peter Reed, Opera Magazine, January 2017


Don Giovanni

English National Opera

 The women are excellent. Rice blazes away thrillingly in her act two aria. Lynch is silver-toned and superbly accurate, and Jones’s unorthodox take lets her reveal levels of vulnerability that some interpreters miss. Tim Ashley, The Guardian, 1st October 2016
There are some distinguished performances. As Elvira, Christine Rice sings a magnificent “Mi tradi”. Rupert Christiansen, The Telegraph, 1st October 2016
Christine Rice's increasingly distracted Donna Elvira exuded star quality and her showstopping "Mi tradi"' confounded Wigglesworth's attempts to stifle applause by motoring through the numbers. Mark Valencia,, 1st October
 Christine Rice’s Donna Elvira, wild-eyed with near raving intensity, is all the more potent for the control this sympathetic performer exerts in one astonishing aria after another. Fiona Maddocks, The Observer, 9th October 2016
The mesmerising centre of attention is Christine Rice’s Elvira, a hopeless, frazzled, complaining mess, but sung and played with focused fury – her appalled horror at her unwanted “love that will not die” is very memorable, and the accompagnato, very spaciously and lovingly conducted, is the most human thing in the whole show. At Giovanni’s last supper she is Mary Magdalene – and Jones indulges the profane-religious angle here, with Giovanni’s blasphemous Eucharist of wine and female flesh very much to the fore. Robert Thicknesse, Critics' Circle, 11th October 2016
Christine Rice acts and sings the role gloriously... Michael Tanner, The Spectator, 8th October 2016
Christine Rice, whose Elvira degenerates into a wild-eyed avenging fury, is in terrific voice. Barry Millington, Evening Standard, 3rd October 2016
...Christine Rice’s excellent Donna Elvira... David Mellor, Daily Mail, 9th October 2016


Exterminating Angel

Salzburg Festival

'Um sie singen sich ...Christine Rice...  begeisternd und auf der Höhe der enormen Anforderungen die Seelen aus dem Leib.' Heinz Sichrovsky, News, 29 July 2016
'The vocal writing is tailor-made for the 22 top-drawer soloists…this is athletic, demanding music which is performed with polish and flair.' Shirley Apthorp, The Financial Times, 29 July 2016

'...and Ed Lyon and Sophie Bevan were ardent as the tragic young couple, Eduardo and Beatriz.'

Hugo Shirley, Opera Magazine, October 2016

'One of the most touching performances came from Christine Rice, as Blanca, who is give two of the score's highlights... More lyrical respite comes in the form of Leticia's Act 3 aria, which holds up the action after she has worked out how the guests are to effect their escape.'

Hugo Shirley, Opera Magazine, October 2016



Esplanade Singapore

"As modern-day Carmens go, Christine Rice is one of the best. Singing the title role in this concert version of Bizet's famous opera, she was not just vocally compelling but conveyed through facial inflexions and body language a potent image of Carmen's alluring captivating and sensuous femininity." Marc Rochester, The Straits Times, 25 April 2016



Teatro Real Madrid

"Con una voz y un físico perfectos para este papel de británica no sólo compuso un personaje creíble, sino que cantó de manera superlativa tanto pasajes líricos como agilidades, con timbre igual de atractivo en agudos y graves: su Sta nell'ircana fue el aria mejor cantada del estreno." Luis Gago, Cultura, 29 October 2015
...Christine Rice took the prize as a marvellous Ruggiero in the first-ever staging of Handel's Alcina at the Teatro Real. A lyrical mezzo of balanced contrasts, modulations and beautiful expression, with impeccable coloratura, her 'Verdi prati, selve amene' was a high point of the evening. Victoria Stapells, Opera, March 2016

Sherlock Holmes Prom

Royal Albert Hall

The highlights of the afternoon...came from...Mezzo-soprano Christine Rice, resplendent in a nineteenth century opera gown, [who] gave us two arias that Sherlock Holmes’ “woman”, Irene Adler, is supposed to have sung - “Una voce poco fa” from The Barber of Seville and “Ah, Tanya, Tanya” from Tchaikovsky’s Eugene Onegin. Her deep tones and smooth delivery brought some much-needed contrast to the mostly-instrumental programme. Caroline Crampton, News State Man, 17 August 2015


The Rape of Lucretia

Glyndebourne Festival Opera

Christine Rice has never have done anything more deeply felt than her heart-rending Lucretia...Here is music drama of the very highest power and quality. Rupert Christiansen, The Telegraph, 6th July 2015
Leading the cast is Christine Rice’s grandly sung Lucretia, noble in tone yet tragically vulnerable in her physical and emotional isolation... George Hall, The Guardian, 7th July 2015
Christine Rice is a young, vibrant Lucretia, not statuesque and stoic, but spontaneous in her emotions, and singing with quick contrasts of light and shade. Richard Fairman, Financial Times, 7th July 2015
Christine Rice is often devastating as Lucretia, the colour leeching out of her voice following her rape... Edward Bhesania, The Stage, 7th July 2015
Lucretia was sung by Christine Rice, whose rich, mature mezzo gave her character stature, nobility and expressive power. George Hall, Opera News, July 2015
The excellent Christine Rice...very much alive  with spontaneous reactions and quick contrasts of colours in her singing. Richard Fairman, Opera, September 2015


Rise and Fall of the City of Mahagonny

Royal Opera House, Covent Garden

Christine Rice's Jenny was fresh-sounding yet convincingly world-weary... Erica Jeal, Opera, May 2015


Les Contes d'Hoffmann

Metropolitan Opera

The cast performs with high ensemble spirits and good theatrical manners...Christine Rice creates a bravely sensual Giulietta. Martin Bernheimer, Financial Times, 14th January 2015
The mezzo Christine Rice, in only her second role at the Met, is sultry as Giulietta. Wilborn Hampton, Huffington Post, 13th January 2015


Hansel & Gretel

Metropolitan Opera

The mezzo-soprano Christine Rice appeared in concert with the Met Orchestra in 2011, but was making her house debut as Hansel. It followed another recent trouser (or at least semi-trouser) role for her, Bradamante in Handel’s “Alcina,” with the English Concert chamber orchestra at Carnegie Hall. In both parts, her voice has been bright and lean, her diction crisp and energetic...Their chemistry delightful, Ms. Rice...danced, crept and cowered with ease, radiating sweetness without ever tipping over into sentimentality. Zachary Woolfe, New York Times, 19th December 2014



Barbican; English Concert

...Rice firm of tone and unaffectedly sincere... Rupert Christiansen, The Telegraph, 11th October 2014
...Christine Rice delivered breathtaking, immaculate coloratura in Bradamante’s Vorrei vendicarmi. Anna Picard, The Times, 13th October 2014
Christine Rice (playing the cross-dressing Bradamante)...the star attractions in a supremely stylish production led by Harry Bicket and The English Concert. Rice...sang Bradamante with thrilling animation... Laura Battle, Financial Times, 13th October 2014
There were great performances from Christine Rice, thrillingly accurate as principled Bradamante... Tim Ashley, The Guardian, 13th October 2014


Moses in Egypt

Welsh National Opera

...Christine Rice turn their arias into show-stoppers. Rupert Christiansen, The Telegraph, 4th October 2014
...Christine Rice’s rich-toned Amaltea... Rian Evans, The Guardian, 5th October 2014


Cosi fan tutte

English National Opera

...Christine Rice’s richly expressive Dorabella. Rupert Christiansen, The Telegraph, 17th May 2014
The women were best, with Christine Rice's Dorabella the most substantial achievement, strongly characterised... Martin Kettle, The Guardian, 18th May 2014
Thank heavens that Christine Rice is in terrific vocal and comedic form as a frumpish Dorabella seizing her last chance to stray... Richard Morrison, The Times, 20th May 2014
 Of the quartet of lovers only Christine Rice as Dorabella is exceptional... Barry Millington, Evening Standard, 19th May 2014
As a feisty Dorabella, Christine Rice clearly enjoyed delivering the performance of the evening, using her luxuriantly warm mezzo with verbal acuity. John Allison, Opera, July 2014


The Minotaur

Royal Opera House, Covent Garden

The superb Christine Rice... Sameer Rahim, The Telegraph, 22nd January 2013
A strong cast has largely been re-assembled from the premiere, led by Christine Rice as Ariadne... Richard Fairman, Financial Times, 20th January 2013
The same trio of soloists - Christine Rice (Ariadne)...are back to give phenomenal performances. Rice, almost constantly on stage, unnerving as quasi-narrator and lustful protagonist, was both terrific and terrifying. Fiona Maddocks, The Observer, 20th January 2013
...immaculately rehearsed production is pitch-perfect in its clean-lined austerity, and Christine Rice (Ariadne)...are all superb. Rupert Christiansen, The Telegraph, 18th January 2013
Mezzo Christine Rice is back in the role of praise too high for...Rice's performance - centre-stage virtually the whole evening... Michael Church, The Independent, 18th January 2013
Christine Rice surely deserves recognition as one of the great operatic artists of our time. Even when she has to sing loudly her tone loses none of its lustre, and as always she acts with sovereign economy and point: one hangs just as keenly on her gestures as on her voice. Michael Tanner, The Spectator, 2nd February 2013



Philadelphia Orchestra

...British mezzo-soprano Christine Rice, whose warmth and musicality were matched by a sensitive intelligence and keen commitment to ensemble.
Victoria Martino, The Huffington Post, 1st November 2012
Of the vocal soloists the most consistently effective was the least well known hereabout, Christine Rice, a British mezzo-soprano...she sang with lovely tone, fine expressivity and good diction in her middle and upper registers. 
James R. Oestreich, The New York Times, 24th October 2012
British mezzo-soprano Christine Rice...wonderfully held her own with crystal clear tonality and an extremely fine tuned sense of musical communication. Her expression of the text was such that one need not look at the translations. If one did, one would miss the magnitude of her acting ability.
Jake Johansen, The Examiner, 23rd October 2012


Closer to my own life

Carnegie Hall

Christine Rice was the excellent soloist, masterfully phrasing the composer's arcs as if she were a human extension of the horn section...her diction...made the printed text unnecessary. 
Bruce Hodges,, 19th October 2011
A powerful new work sung beautifully by Rice. Rice, who specializes in both Baroque and Birtwistle contemporary, sang in her big, glamorous voice, following Harbison's strongly profiled motifs...Her tone is sensuous and dark, just right for this work of dark and disturbing music and words. 
Susan Hall,, 17th October 2011
Christine Rice's deep. burnished voice conveyed the texts with consistent authority... 
Gene Gaudette,, 16th October 2011



Royal Opera House, Covent Garden

...with Christine Rice as his sister Maddalena on sultry form.
Fiona Maddocks, The Observer, 15th April 2012
...Christine Rice is feisty as Maddalena...
John Allison, The Telegraph, 11th April 2012
Christine Rice makes a superb Maddalena.
George Hall, The Guardian, 10th April 2012
Christine Rice’s seductive Maddalena and Matthew Rose’s morose Sparafucile are both near ideal.
Rupert Christiansen, The Telegraph, 2nd April 2012
Christine Rice as his sister Maddalena also deserve[s] honourable mention.
Barry Millington, Evening Standard, 2nd April 2012


Tales of Hoffmann

English National Opera

...Christine Rice at her creamiest, able to create in a few gestures and notes what many singers would take an evening to convey.
Michael Tanner, The Spectator, 18th February 2012
Christine Rice brought her customary beauty of sound and dramatic know-how to Nicklausse...
Rodney Milnes, Opera, April 2012
A bonus is that Nicklausse, Hoffmann's ambiguous muse, has more action. Since he is sung by Christine Rice, in excellent form as a Richmal Crompton schoolboy, no one should complain.
Fiona Maddocks, The Observer, 19th February 2012
...fabulously sung by Christine Rice...
Hugh Canning, The Sunday Times, 19th February 2012
Still, it's a triumph for the ENO, with the principals being given luxurious support by Christine Rice's warm mezzo muse/schoolboy...
Paul Levy, Wall Street Journal, 17th February 2012
Nicklausse, his companion on his adventures, is a level-headed Just William (the convincing Christine Rice)...
Rupert Christiansen, The Telegraph, 14th February 2012
 It would almost be worth attending just to hear the delightful Christine Rice as Nicklausse, Hoffmann’s muse, whose voice is acquiring some thrilling darker hues.
Sam Smith,, 14th February 2012
Christine Rice sings an impressively rich-toned Nicklausse...
Richard Fairman, Financial Times, 13th February 2012
Christine Rice’s Nicklausse is vocally glamorous...
George Hall, The Stage, 13th February 2012
mezzo Christine Rice is his confidant Nicklausse...
Michael Church, The Independent, 13th February 2012
Superb as Hoffmann's friend/muse Nicklausse, Christine Rice sports schoolboy short trousers and grubby knees - a neat comment on the immaturity of Hoffmann.
Barry Millington, Evening Standard, 13th February 2012
Through it all, Christine Rice’s boyish Nicklausse is an irresistible and truly inspiring Muse, rhapsodic in her big Act II aria, and both elegant and touching in the great Barcarolle.
Hilary Finch, The Times, 12th February 2012
...Christine Rice's tremendous schoolboy Nicklausse.
Tim Ashley, The Guardian, 12th February 2012


CD: Carmen

Opus Arte

'the cast is excellent. Christine Rice brings to the protagonist rich, malleable tone, sung and spoken French with real flavour to it... focused acting, and more than a touch of glamour; there's a fine line to be trodden between being sexually provocative and being vulgar, and Rice treads it carefully.'

George Hall, Opera Magazine, October 2016



DURUFLE: Requiem Aeternam

Christine Rice (mezzo-soprano)
Mark Stone (baritone)
Guy Johnston (cello)
Tristan Mitchard (organ)
The Choir of Somerville College, Oxford (choir)
David Crown (conductor)
Maurice Duruflé (composer)
Robin Milford (composer)

Duruflé's Requiem & Milford's Mass for Five Voices
Stone Records