Lucy Crowe


"Lucy Crowe dazzles with her every appearance, a young singer blessed with look-at-me-and-listen charisma."

Described as having a voice of bell-like clarity with an impeccable vocal technique and powerful stage presence, Lucy Crowe has established herself as one of the leading lyric sopranos of her generation.

With repertoire ranging from Purcell, Handel and Mozart to Donizetti’s Adina and Verdi’s Gilda she has sung with opera companies throughout the UK and Europe, including the Royal Opera, Covent Garden, the Glyndebourne Festival, English National Opera, the Deutsche Oper Berlin and the Bavarian State Opera. She made her US operatic debut as Iole (Handel’s Hercules) for Chicago Lyric Opera, reprising the role for the Canadian Opera Company, and she made her debut with the Metropolitan Opera, New York as Servilia (La clemenza di Tito), returning last season for Adele (Die Fledermaus).

On the concert platform she is much in demand with the world’s major orchestras and conductors and she has appeared at the Aldeburgh, Edinburgh, Salzburg and Tanglewood Festivals and at the Mostly Mozart Festival in New York.  She is a regular guest at London’s Wigmore Hall and other recital appearances include New York’s Carnegie Hall.  She makes her Amsterdam’s Concertgebouw recital debut this season.

Lucy’s 2016/17 operatic plans include the title role in Rodelinda at the Teatro Real Madrid and Ismene (Mitridate) at the Royal Opera House.  In concert she will appear with the Philadelphia Orchestra/Yannick Nézet-Séguin, on tour with the London Symphony Orchestra/John Eliot Gardiner, the Czech Philharmonic/Jiří Bělohlávek, the Boston Symphony Orchestra/Nelsons, and the Accademia Santa Cecilia Orchestra/Pappano. 

This is for information only. Please contact Sophie Dand for an up-to-date biography.

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News & Features

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  • New BBC NEWSNIGHT 2016
    She Moved Through the Fair



Teatro Real Madrid, MADRID

HANDEL 'Rodelinda'

Musical director: Ivor Bolton
Director: Claus Guth

Rodelinda: LUCY CROWE
Bertarido: Bejun Mehta
Grimoaldo: Michele Angelini
Eduige: Sonia Prina
Unulfo: Lawrence Zazzo
Garibaldo: Umberto Chiummo

Teatro Real Madrid, MADRID

HANDEL 'Rodelinda'

Musical director: Ivor Bolton
Director: Claus Guth

Rodelinda: LUCY CROWE
Bertarido: Bejun Mehta
Grimoaldo: Michele Angelini
Eduige: Sonia Prina
Unulfo: Lawrence Zazzo
Garibaldo: Umberto Chiummo

Teatro Real Madrid, MADRID

HANDEL 'Rodelinda'

Musical director: Ivor Bolton
Director: Claus Guth

Rodelinda: LUCY CROWE
Bertarido: Bejun Mehta
Grimoaldo: Michele Angelini
Eduige: Sonia Prina
Unulfo: Lawrence Zazzo
Garibaldo: Umberto Chiummo

Teatro Real Madrid, MADRID

HANDEL 'Rodelinda'

Musical director: Ivor Bolton
Director: Claus Guth

Rodelinda: LUCY CROWE
Bertarido: Bejun Mehta
Grimoaldo: Michele Angelini
Eduige: Sonia Prina
Unulfo: Lawrence Zazzo
Garibaldo: Umberto Chiummo

Teatro Real Madrid, MADRID

HANDEL 'Rodelinda'

Musical director: Ivor Bolton
Director: Claus Guth

Rodelinda: LUCY CROWE
Bertarido: Bejun Mehta
Grimoaldo: Michele Angelini
Eduige: Sonia Prina
Unulfo: Lawrence Zazzo
Garibaldo: Umberto Chiummo

Teatro Real Madrid, MADRID

HANDEL 'Rodelinda'

Musical director: Ivor Bolton
Director: Claus Guth

Rodelinda: LUCY CROWE
Bertarido: Bejun Mehta
Grimoaldo: Michele Angelini
Eduige: Sonia Prina
Unulfo: Lawrence Zazzo
Garibaldo: Umberto Chiummo

Symphony Hall Boston, BOSTON

MOZART Requiem

Conductor: Andris Nelsons

Piano: Radu Lupu

Mezzo-soprano: Tamara Mumford
Tenor: Ben Johnson
Bass: Morris Robinson

Boston Symphony Orchestra
Tanglewood Festival Chorus

Symphony Hall Boston, BOSTON

PÄRT: Miserere (c. 35 minutes)
MOZART: Requiem (c. 50 minutes)

Conductor: Andris Nelsons

Piano: Radu Lupu

Mezzo-soprano: Tamara Mumford
Tenor: Ben Johnson
Bass: Morris Robinson

Boston Symphony Orchestra
Tanglewood Festival Chorus

Symphony Hall Boston, BOSTON

PÄRT: Miserere (c. 35 minutes)
MOZART: Requiem (c. 50 minutes)

Conductor: Andris Nelsons

Piano: Radu Lupu

Mezzo-soprano: Tamara Mumford
Tenor: Ben Johnson
Bass: Morris Robinson

Boston Symphony Orchestra
Tanglewood Festival Chorus

St John's Smith Square, LONDON

W. F. BACH Adagio and Fugue, Sinfonia in D minor Fk 65
MONN Symphony in B major
W. F. BACH Duet for 2 flutes in E minor Fk 54
C. P. E. BACH Symphony in B minor Wq 182/5
PERGOLESI 'Stabat mater'

Counter-tenor: Tim Mead

Harpsichord/organ & Director: Christian Curnyn
Early Opera Company

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Interview with the Daily Express - November 2014

Please click here to read Lucy Crowe's interview with the Guardian - May 2012

Please click here to read Lucy Crowe's interview with The Telegraph - May 2012

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BBC Proms 2016 - Video

Please click here to watch Lucy Crowe singing Mozart's 'Exsultate, jubilate' with the OAE and Stephen Cleobury at the BBC Proms 2016 broadcast live on BBC Four.

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La Calisto

La Nuova Musica

Wigmore Hall

…the pathos and comedy in Calisto’s erotic downfall were exquisitely balanced by Crowe. Anna Picard, The Times, 1 December 2016
Lucy Crowe…in the title role, revealing an exquisite purity in her soprano and yet bringing an additional quality to her sound that made it feel almost spiritual. Sam Smith, Music OHM, 28 November 2016


Missa Solemnis

LPO, Royal Festival Hall, Sir Mark Elder

Lucy Crowe, Paula Murrihy, Allan Clayton and Peter Rose formed the solo quartet, their voices seamlessly blending and beautifully balanced. Tim Ashley, The Guardian, 7 November 2016
…Lucy Crowe penetrating clearly and radiantly above the orchestral and choral texture… Curtis Rogers, Classical Source, 5 November 2016

Mozart Requiem

BBC Proms - Budapest Festival Orchestra

Royal Albert Hall

…her voice simply soared with wonderful clarity: her solo statements had a lofting intensity and richness which was utterly heart-winning. Claire Seymour, Opera Today, 27 August 2016
The choral singing from the Collegium Vocale Gent was heart-breaking in its tenderness, as was soprano Lucy Crowe when she pleaded “to whom shall I appeal for aid?” in the Tuba Mirum… Ivan Hewett, The Telegraph, 30 August 2016
Lucy Crowe was outstanding. Barry Creasy, Music OMH, 26 August 2016

…the unforced beauty of the high-lying soprano lines, delivered sensitively by Lucy Crowe, was a delight; one particular moment when her voice was underlain by basset-horn was magical.

Antony Hodgson, Classical Source, 26 August 2016

Mozart ‘Exsultate, jubilate’ & Haydn ‘Mass in Time of War’

BBC Proms - OAE

Royal Albert Hall

…led by Lucy Crowe, who opened the evening with Mozart’s Exsultate, Jubilate, which was sung with tremendous elan and radiant tone.
Tim Ashley, The Guardian, 18 July 2016
It is an operatic showpiece par excellence, and soprano Lucy Crowe was fittingly celebratory... The music is perky but elegant, tuneful but virtuosic, and Crowe’s sweet tone contained no hint of operatic overkill. Her high notes in the second aria were beautifully floated rather than blasted, and the glorious top C right at the end was made to sound easy.
Bernard Hughes, The Arts Desk, 18 July 2016
...Mozart’s Exsultate jubilate, sung with a bravura flourish by the soprano Lucy Crowe... The piece is often performed by sopranos with a ‘Despina’ vocal quality, but Crowe’s voice is creamier and more full-bodied, and it provided a pleasant alternative, with no let-up on the agility for the cadenzas, or on the quality and precision of the top notes.
Barry Creasy, Music OMH, 18 July 2016
True pizzazz came in the evening’s curtain-raiser, Crowe’s luscious rendition of Mozart’s Exsultate, jubilate.
Neil Fisher, The Times, 19 July 2016

Mozart 'Requiem' & Part 'Miserere'

LA Philharmonic Orchestra / Gustavo Dudamel

Walt Disney Concert Hall

The commanding, sterling soprano Lucy Crowe dominated the soloist... Mark Swed, LA Times, 20 May 2016


CD with William Berger & Iain Burnside

Delphian Records

‘Frühling im Sommer’, a solo for Lucy Crowe’s delectable soprano, enters a more imaginative realm, conjured by delicately suggestive chords in the accompaniment… The prime pleasure of the disc overall is Crowe’s silvery beauty of tone in the many songs where she takes the dominant, top line.
Richard Fairman, Gramophone, 2016


The Magic Flute

English National Opera

Lucy Crowe’s rapturous “Tamino mine” will stay in the ears for a long time...
Alexandra Coghlan, The Arts Desk, 6 February 2016
Lucy Crowe's radiantly sung Pamina.
Mark Valencia, What’s On Stage, 6 February 2016
Allan Clayton and Lucy Crowe make an attractively ardent Tamino and Pamina, projecting their lyrical arias with style and confidence…
Rupert Christiansen, The Telegraph, 6 February 2016
Lucy Crowe’s sublime Pamina…
Michael Church, The Independent, 6 February 2016
…and London’s best sung Pamina in years from Lucy Crowe…
Martin Kettle, The Guardian, 7 February 2016

Lucy Crowe captures Pamina’s agony and bewilderment at Tamino’s brutal rejection of her in “Now my joy has gone forever”, colouring the burning roulades and gasping staccato exquisitely, and artfully extending the silences between phrases.

Anna Picard, The Times, 8 February 2015

Lucy Crowe, gleaming and honeyed in tone, irresistible in stage presence, is ideally cast as Pamina and duly wins all hearts.

Barry Millington, The Evening Standard, 9th February 2016
But in Lucy Crowe’s performance, it’s Pamina who emerges as the central figure. Dressed in white, Crowe clambers gamely — like all the cast — as McBurney’s floating platform tilts and swings about the stage. She manages to convey both courage and vulnerability — in any other house, the luminous, piercing beauty of her great Act 2 aria of loss would surely have drawn an ovation. When she steps forward into a square of white light to share Tamino’s ordeals, the effect is of an almost Wagnerian moment of transcendence.
Richard Bratby, The Spectator, 11 February 2016
The notable exception was Lucy Crowe.  Starting a visual advantage – blonde hair and a white dress amid all the dark grey – she sang what is probably the best Pamina I have heard live. The whitish character of her soprano is perfectly suited to the role – one thinks of Klemperer’s Gundula Janowitz – and she used her equipment brilliantly, producing exquisite pianissimos and making ‘Bei Männern’ and ‘Ach, ich fühl’s’ the two indisputable highlights of the evening. On top of that, her lines in the ensembles were wondrous.  Brava!  
Russ McDonald, Opera Magazine, April 2016


Orphée et Eurydice

Royal Opera House, Covent Garden

...and with soloists who both move us (Florez by his gymnastic beauty of tone, Crowe by her imperious force) and also amuse us (Forsythe with Amour’s moralising), musically we are in heaven from start to finish. Michael Church, The Independent, 15 September 2015
Lucy Crowe as Eurydice brings all the tonal colouring, moulded phrasing and sense of style one longs for... Barry Millington, Evening Standard, 15 September 2015
Flórez is Lucy Crowe, always an impassioned singer and here a paragon of dignity... Mark Valencia, Whats On Stage, 15 September 2015
Florez receives strong support from the opera’s other roles, with Lucy Crowe offering a Eurydice combining character with vocal grace... George Hall, The Stage, 15 September 2015
Lucy Crowe and Amanda Forsythe make well-matched sopranos as Eurydice and Amour.  Richard Fairman, The Financial Times, 16 September 2015
...the zombie-like gestures of Lucy Crowe’s beautifully sung Eurydice after she has been reborn for the second time... Richard Morrison, The Times, 16 September 2015



Glyndebourne Festival Opera

Lucy Crowe and Sophie Bevan vie in singing of Golden Age charm and accomplishment as the rivalrous sisters – Crowe’s Merab is all acid and venom...
Rupert Christiansen, The Telegraph, 24 July 2015
Superb singing from Iestyn Davies (David), Sophie Bevan (Michal) and Lucy Crowe (Merab), with outstanding dancers and chorus, all under the lively baton of Ivor Bolton.
Barry Millington, The Standard, 24 July 2015
… her gorgeous aria in the candlelit opening scene of the second part.
Andrew Clements, The Guardian, 24 July 2015
Lucy Crowe’s Merab was sung with the sparkling brilliance we have come to expect from this Glyndebourne favourite…
Melanie Eskenazi, Music OMH, 24 July 2015
No praise too high for the singing…of Lucy Crowe and Sophie Bevan as Merab and Michal respectively…
Michael Church, The Independent, 24 July 2015
Sophie Bevan and Lucy Crowe supply radiant tone and contrasting characterisations as the sisters Michal and Merab.
Richard Morrison, The Times, 25 July 2015
Lucy Crowe and Sophie Bevan offer sopranos of contrasting timbres but equal beauty as Saul’s daughters Merab and Michal…
Laura Battle, The Financial Times, 26 July 2015



Glyndebourne Festival Opera

In her role debut as the shy Micaëla, Lucy Crowe gives a melting performance …
John Allison, The Telegraph, 24 May 2015
By contrast Lucy Crowe sang Micaëla, the girl from back home, with an affecting grace and an infusion of sadness that rendered her third-act aria almost unbearable. 
Mark Valencia, What’s On Stage, 25 May 2015
Lucy Crowe gave yet another demonstration of her versatility with her sweetly sympathetic Micaëla, as ever finely sung and characterized with entirely credible empathy. 
Melanie Eskenazi, Music OMH, 24 May 2015
Lucy Crowe’s homespun Micaëla, ardently performed…
Neil Fisher, The Times, 26 May 2015
Lucy Crowe suggests Micaëla’s determination as well as her relative conventionality, her fine-grained lyric soprano forming an effective counterweight to d’Oustrac’s duskier mezzo.
George Hall, The Guardian, 24 May 2015
Lucy Crowe as Micaela comes with lashings of warm-toned vocal balm...
Edward Bhesania, The Stage, 26 May 2015
With rich-toned bass David Soar as a swaggering Escamillo, and silvery soprano Lucy Crowe as a sweetly resolute Micaela, determined to save her fiancé from the gypsy’s clutches, it’s as good a cast as you could wish for.   Clare Colvin, The Express, 31 May 2015


The Indian Queen

English National Opera

There is singing of extraordinary eloquence by Lucy Crowe…
Barry Millington, Evening Standard, 27 February 2015
Lucy Crowe as Doña Isabel has an obvious affinity for Purcell’s music and provides some of the most cherishable moments of the evening.
Kimon Daltas, The Arts Desk, 27 February 2015
Lucy Crowe…create[s] moments of heart-stopping beauty… Michael Church, The Independent, 27 February 2015
The real star, though, is Crowe, whose singing is simply breathtaking in its beauty throughout.
Tim Ashley, The Guardian, 27 February 2015
...the delicately nuanced singing of Lucy Crowe... Richard Morrison, The Times, 2 March 2015
the heart-rending great solos with the heavenly Lucy Crowe... Richard Fairman, The Financial Times, 2 March 2015
...British soprano Lucy Crowe, whose intense O Solitude was a high point. Fiona Maddocks, The Guardian, 1 March 2015
...the heart-stopping lament “O solitude” - exquisitely sung here by Lucy Crowe... Rupert Christiansen, The Telegraph, 27 February 2015

New Year's Concerts

Scottish Chamber Orchestra

...soprano Lucy Crowe takes all the plaudits with even the ubiquitous Vilia – a work that is evepresent in these sort of concerts – proving a hit. A hit this might have been, but her performance of two arias by Strauss and Lehar surely must crown her Queen of the Coquette. I don’t think I’ve heard a better On My Lips Every Kiss is Like Wine and her Fledermaus “audition song” was a complete knock-out, acted and sang beautifully. Garry Fraser, Dundee Courier

Middle Temple Hall recital

With Julius Drake

...a brilliantly communicative recital...
Crowe displayed a lovely combination of lyric flexibility with richly powerful tone and not a little wit, finishing with a real feeling of excitement.... 
both voice and piano were mesmerising....Crowe is a highly communicative artist....
Planet Hugill, 3 December 2014


L'elisir d'amore

Royal Opera House, Covent Garden

...Lucy Crowe triumph[s]...bringing a peachy fullness of tone – and irresistible flirtatiousness – to her exquisitely-sung Adina.
Michael Church, The Independent, 19 November 2014
He meets his match in Lucy Crowe, who chalks up another impressive success as a beguiling but steely Adina. Her light lyric soprano – pliant, silvery, easy at the top – is a perfect fit for music which she expresses with insouciant ease and charm....a ravishing “Prendi per me”, but it’s clearly high time this outstanding British talent was dispatched to Donizetti’s Lammermoor.
Rupert Christiansen, The Telegraph, 19 November 2014
She brings a lovely purity of tone and an alluring stage presence...
Barry Millington, The Evening Standard, 19 November 2014
...Lucy Crowe, who shapes her music as beautifully as we have come to expect from her, and plays for laughs gamely... Erica Jeal, The Guardian, 19 November 2014
...Lucy Crowe’s Adina, proving herself a versatile operatic lead and sharing some credible chemistry. 
Edward Bhesania, The Stage, 19 November 2014
Vivacious Lucy Crowe sings sweetly as Adina... Richard Fairman, The Financial Times, 20 November 2014
But the tenor and soprano steal the show from under his nose...Our own Lucy Crowe is a sparky, coquettish Adina who sings exquisitely.
Tully Potter, The Daily Mail, 21 November 2014
As Adina, Lucy Crowe was adorable.   Perfectly cast both physically and vocally, she managed to indicate her uncertain feelings for Nemorino without upsetting the balance of the plot.  Her soprano is healthy and uncommonly pure, making for a lovely rendition of the Isolde story and a fizzy first-act duet with Nemorino. Russ McDonald, Opera, January 2015


St John Passion

BBC Proms 2014

Lucy Crowe was the rapturous soprano…
Tim Ashley, The Guardian, 27 July 2014
…and Lucy Crowe’s ringing soprano arias…
Michael Church, The Independent, 27 July 2014
…Crowe’s lilting "Ich folge dir gleichfalls" a particular highlight.
Kimon Daltas, The Arts Desk, 27 July 2014

Strauss 'Der Rosekavalier'

London Symphony Orchestra

Barbican Centre, London

Lucy Crowe’s was a perfectly acted Sophie, nervously anxious, swept off her feet by her knight, but especially in her look of terror towards the Marschallin in the great Act III finale. Crowe and Connolly intertwined vocal lines seductively in the Rose scene; Crowe’s crystalline purity on the A sharp rising to a B of “Wie himmlische” was sensational, causing goosebumps to prickle. Both were superb in the final duet “Ist ein Traum”…

Mark Pullinger, Bach Track, 9 May 2014
In the Presentation of the Rose from Act 2 the glorious mezzo of Sarah Connolly as Octavian, combined with Lucy Crowe’s soaring lyric soprano as Sophie, captured the thrill of the blossoming of young love. Barry Millington, The Evening Standard, 9 May 2014

Recital with Anna Tilbrook

Weill Recital Hall

...the artistry she displayed in this set was stunning....She brought astounding clarity and understanding to the music, approaching the free-flowing, stream-of-consciousness phrases with specific intent.
Eric C. Simpson, New York Classical Review, 10 April 2014
Slow, elegantly breathless fragments of phrases passed in a mood that was intimate and luminous...
A sense of majestic scale...came when she turned to the...British songs in the second half, including a lusciously peaceful version of Ralph Vaughan Williams’s “Silent Noon” and a mournfully eloquent “Sleep,” by Ivor Gurney. She sang William Walton’s cycle “A Song for the Lord Mayor’s Table” with energy and the folk song arrangements with easy freedom: “She Moved Through the Fair,” an Irish tune, was a cappella and astonishing. 
Zachary Woolfe, The New York Times, 10 April 2014



Canadian Opera

Lucy Crowe’s stellar reputation had preceded her, but for once, all the raves seemed less than she deserved. This woman deserves to be at the very top of the pantheon of living operatic sopranos, as her performance as the captive Iole demonstrates.
At times, especially in more legato passages, her voice takes on a warm liquidity that positively soothes and heals, but in moments when she is recalling the tortures she underwent, it gives you the sensation of being stabbed with an icicle.
Richard Ouzounian, Toronto Star, 6 April 2014
Lucy Crowe, as the prisoner Iole, was correspondingly angelic, sensual and heartbreaking, a woman who sings her first aria, Bright Liberty from under an Abu Ghraib hood, and whose sufferings animate the entire piece. Crowe’s soaring soprano held an entire house breathless time and again during the performance. Robert Harris, The Globe and Mail, 7 April 2014
Lucy Crowe whose soaring soprano was an absolute delight.  Joseph So, La Scena Musicale, 6 April 2014
Crowe is a revelation as Iole, singing her first aria as a subdued prisoner and later becoming a passionate yet tender figure who brings reconciliation to this troubled world. I can’t imagine her role being done better. Jon Kaplan, Now Toronto, 10 April 2014

Conti's L'Issipile

La Nuova Musica

Wigmore Hall, London

The starry line-up of soloists had been cleverly chosen. Sopranos Lucy Crowe and Rebecca Bottone complemented each other perfectly, with Crowe’s luscious fullness of tone...
5***** Michael Church, The Independent, 23 January 2014
…sung by Crowe with ravishing tone and instrumental purity of style.
Hugh Canning, Opera Magazine, March 2014


Le Nozze di Figaro

Royal Opera House, Covent Garden

...the creamy soprano and vivacious appeal of his Susanna, Lucy Crowe.
Richard Fairman, Financial Times, 17 September 2013
Lucy Crowe’s delightful Susanna anchors the show in the sort of good-humoured brio that makes it run so well.  Neil Fisher, The Times, 18 September 2013
…and wide-eyed, sweet-voiced Lucy Crowe…spot on in [her] big arias and vivid in [her] characterisation.
Rupert Christiansen, The Telegraph, 18 September 2013
Lucy Crowe is so beguiling a Susanna that it’s hard to mind about anyone else if she is happy.
Michael Tanner, The Spectator, 28 September 2013

Sibelius & Lutoslawski

City of Birmingham Symphony Orchestra

Symphony Hall, Birmingham

It was also an ambitious showcase for British soprano Lucy Crowe, who sparkled in every sense (her striking peacock-green dress, finished with gleaming gems, never threatened to upstage her).
Crowe brought sardonic humour to her interpretation of Lutosławski’s cycle of vocal miniatures Chantefleurs et Chantefables (“Songflowers and Songfables”)…Her voice was rich and well-projected in this most spacious and truthful of halls. She is easily the most impressive soprano I have heard in quite some time and the appreciative audience may well have agreed with me…
In contrast to the Lutosławski songs, her role in the Sibelius demanded a much more serious disposition and a good grasp of Finnish pronunciation, which is no mean feat. She was more than equal to these challenges and her voice once more sailed above Gardner’s exciting and sensitive accompanying orchestra.

Peter Marks, BachTrack, 24 June 2013
…Lutosławski’s final song-cycle Chantefleurs et Chantefables (1990) made on its first performance at the Proms two decades and more ago. Since then it has attracted a number of the most gifted sopranos – not least Lucy Crowe, whose delicate though never fey approach to Robert Desnos’s playful verse was engaging and affecting in equal measure…
Lucy Crowe gave a finely attuned account of the demanding vocal part [Sibelius’ Luonnotar], suggesting she may well become one of the work’s leading exponents.

Richard Whitehouse,, 20 June 2013

Lucy Crowe’s rapid rise to stardom has seen her acquire an enviable reputation as one of the most sought after lyric sopranos around and her natural, engaging stage presence proved finely suited to the images of plants and animals depicted through the eyes of a child…From the flower songs of La belle-de-nuit and La rose to the antics of the tortoise and the alligator, the delicacy and vocal athleticism of Lucy Crowe was remarkable in a performance that clearly found her many a new admirer amongst the Birmingham audience.
If it was a sense of delicate fragility and childlike innocence that Lucy Crowe brought to Lutoslawski’s box of natural delights in Chantefleurs et Chantefables, the contrast with the mysterious, darkly hued tones of Sibelius’s enigmatic Luonnotar could hardly have been more marked.
Crowe’s surety of pitch in her highest register allied with the sheer power of her delivery as Sibelius pushes the voice to its very limits in the storm fuelled central climax of his other worldly, Kalevala inspired tale of earthly creation proved magnificent enough, but it was the haunting, uneasy atmosphere of the close that left the audience in Symphony Hall spellbound. The extended silence in the hall as the final ethereal sounds settled spoke for itself.

Christopher Thomas, Seen and Heard International, 24 June 2013



Barbican Centre, London

Lucy Crowe fielded her softer, luminous high soprano as Clomiri and shone in her added decorations, which gave an idea of the vocal fireworks Handel may have expected.  Richard Fairman, The Financial Times, 30 May 2013
If everyone, however, had inhabited the music and the role with the imagination and vocal skill of Lucy Crowe’s lovesick Clomiri, the entire evening would have been raised to a different level. Hilary Finch, The Times, 31 May 2013
…Lucy Crowe, the cast’s sparkiest member.
Rupert Christiansen, The Telegraph, 1 June 2013
All the colours we needed were there in the… appearances of the phenomenal Lucy Crowe as fellow virgin Clomiri, in love with Imeneo and strictly superfluous to dramatic need. Less than two weeks after her diva triumph at Göttingen…the delicious nature of her three little arias, Zerlina-charming in their shy or sly sideways glances, their discreet ornamentation. And in the third, Handel gives Clomiri a middle section of sudden and surprising heart; Crowe took us by surprise with the deep musicality and tonal range of which she’s now capable.
David Nice, The Arts Desk, 30 May 2013


The Barber of Seville

English National Opera

The ENO's production of Rossini's The Barber of Seville at the London Coliseum is illuminated by star performances from Andrew Shore and Lucy Crowe, says Rupert Christiansen... Lucy Crowe’s Rosina provided another sort of delight. I’ve long been a warm admirer of this enchanting soprano, but I am now a paid-up fan. She played the scheming, flirting, lying minx to perfection and sang with crystalline tone and fluent coloratura as though it was no trouble at all. I badly want to hear her sing Lucia di Lammermoor.

Rupert Christiansen, The Telegraph, 26 February 2013
The star, though, is Lucy Crowe, not as viperish as some Rosinas but with her own very individual ideas about how to embellish the vocal lines. Bright, accurate and vivacious, hers is bel canto singing of a high order.

Nick Kimberley, Evening Standard, 26 February 2013
…and the silky-voiced, suitably stroppy Lucy Crowe rarely lets us forget that she can ping around the vocal stratosphere with ease.

Neil Fisher, The Times, 27 February 2013
…Lucy Crowe makes up for in sparkle; her numerous added high notes gives her confident realisation an extra touch of brilliance.
George Hall, The Guardian, 27 February 2013

As Rosina, Lucy Crowe is glorious: her light, nimble coloratura immaculate, her eyebrows speaking with a sign language all of their own.

Fiona Maddocks, The Observer on Sunday, 3 March 2013

Crowe effortlessly steals the limelight as a soprano Rosina, with diamantine bravura and a winningly minxish persona…an enjoyable revival, unmissable for Crowe. ENO would do well to book her for any lyric-coloratura roles she wants to sing there.

Hugh Canning, The Sunday Times, 3 March 2013
Rosina is a bright and cheeky Lucy Crowe, whose voice makes short work of Rossini’s fiendish soprano arias. And she does a good line in petulance, pursing her lips while her eyes twinkle with plots to foil the men who scheme around and about her.
Elizabeth Davis, BBC Music Magazine, 4 March 2013
Lucy Crowe, by contrast, sang Rosina with wonderful agility, bright, pleasing tone, and dazzling coloratura.  She also demonstrated a comic instinct to match Shore's: everything lifted in their scenes together. Hugo Shirley, Opera, May 2013

French song recital

Wigmore Hall

With Christopher Maltman and Graham Johnson

Crowe…frequently letting that staggering sound do the work. There was dazzling coloratura in Berlioz's Zaïde, a ravishing sense of line in Xavier Leroux's orientalist Le Nil, and a chaste sensuousness in Gounod's Au Rossignol.

Tim Ashley, The Guardian, 6 January 2013
Lucy Crowe was at her exquisite best in the delicate, tripping consonants of Massenet's Le sais-tu? (Do you know?) and in the pair of Debussy songs, Nuits d'étoiles (Night of stars) and Apparition – together a winning calling-card for Mélisande, which is surely a role she is destined to sing.

Mark Valencia,, 4 January 2013


La Clemenza di Tito

Metropolitan Opera, New York

Lucy Crowe made an impressive house debut as Servilia, drawing warm applause for her sing Act II aria.

Paul J. Pelkonen, The Classical Review, 17 November 2012

…the English soprano Lucy Crowe is impressive as Servilia.

Wilborn Hampton, Huffington Post, 20 November 2012

In her Met debut, Lucy Crowe offered a ravishing, fine-grained soprano.

James Jordan, The New York Post, 20 November 2012

Luxury casting of the two supporting female roles makes them almost an embarrassment of riches. In a splendid Met debut, British lyric soprano Lucy Crowe brings a bell-like purity to the one aria and one duet allotted to Servilia.

Associated Press, 18 November 2012

Lucy Crowe, making her Met debut, was a gleaming Servilia. 

Steve Smith, The New York Times, 19 November 2012


Missa Solemnis

Barbican Centre, London

Lucy Crowe was the ethereal soprano, with Jennifer Johnston, James Gilchrist and Matthew Rose making up a crisp and balanced quartet of soloists.

Andrew Clark, Financial Times, 21 October 2012

Mahler Symphony No.2

City of Birmingham Symphony Orchestra

Kultur und Kongresszentrum Luzern, Switzerland

…and Lucy Crowe’s gleaming, juicy soprano rose magically out of the choral texture…

Hugh Canning, The Sunday Times, 16 September 2012


The Cunning Little Vixen

Glyndebourne Festival

…and the vixen…is radiantly performed by Lucy Crowe.

Paul Levy, The Wall Street Journal, 26 May 2012

Two beacons shine out…Lucy Crowe’s radiantly sung Vixen…

Hugh Canning, The Sunday Times, 27 May 2012

Lucy Crowe traces the Vixen’s sexual blossoming with coy charm, lissom physicality and radiant vocalism…

Andrew Clark, The Financial Times, 21 May 2012

…embodied in Lucy Crowe’s glowingly sung Vixen – probably a menace to society and stubborn and stroppy to boot, yet quite literally a life force.

Rupert Christiansen, The Telegraph, 21 May 2012

Vixen - the super, vibrant Lucy Crowe…

Edward Seckerson, The Independent, 21 May 2012

The action is dominated by Lucy Crowe’s Vixen, a powerhouse of foxy ingenuity, her tail switching saucily while her light and easy soprano floats through Janacek’s sometimes treacherous lines. Her courtship scene with Emma Bell’s Fox is both sexy and funny.


Nick Kimberley, Evening Standard, 21 May 2012

…Lucy Crowe’s restless, volatile Vixen…sharply etched and vividly sung.

Richard Morrison, The Times, 22 May 2012

Lucy Crowe's restless Vixen is a wild child quick to assert her independence. The lustrous stops this gifted lyric soprano is able to pull out in a half-animal, half-human kind of courtship, where the earthiness is in the text and a deeper love-music glows in the orchestra…


David Nice, The Arts Desk, 21 May 2012

…you'll revel in Lucy Crowe's Vixen, whose lament wrings every ounce of available emotion from the music without remotely sentimentalizing it; this is a definitive performance, at the level of that of the unforgettable Helen Field, and there is no higher praise. I've previously written that the challenges presented by this role are akin to having to sing Jenůfa and Zerbinetta in the same opera, and Lucy Crowe met them all with tremendous confidence.

Melanie Eskenazi, Music OMH, 21 May 2012



Royal Opera House, Covent Garden

Her bright, bell-like soprano sounds closer, perhaps, to the old Austro-German school of Gildas – say Hilde Gueden, Erika Köth or Lucia Popp… Her timbre has more warmth and, after the birth of her baby late last year, it seems fuller and more penetrating than when I last heard her in the big house.  She had no trouble making herself heard in the top line of the Act 3 quartet and the even more taxing (for a lyric soprano) ‘Storm’ trio, holding her own thrillingly against the other British principals in the cast.

Hugh Canning, Opera Magazine, June 2012



Barbican Centre, London

Lucy Crowe’s plangent soprano ensured that Israel would hear and hear well in her big number at the top of Part 2.

Edward Seckerson, The Independent, 8 March 2012

Almost as much heat, plus a kindlier light, radiated from the soprano Lucy Crowe. 

Geoff Brown, The Times, 8 March 2012



Handel's Saul

Saul, Christopher Purves
David, Iestyn Davies
Merab, Lucy Crowe
Michal, Sophie Bevan 
Jonathan, Paul Appleby
High Priest, Benjamin Hulett
Witch of Endor, John Graham-Hall

Conductor, Ivor Bolton
Director, Barrie Kosky
Orchestra of the Age of Enlightenment 
The Glyndebourne Chorus
Opus Arte

Szymanowski Stabat Mater

Lucy Crowe, soprano
Robert Murray, tenor
BBC Symphony Orchestra & Chorus
Edward Gardner, conductor
Recorded in: Fairfield Halls, Croydon
5 & 6 January 2013

Lutoslawski disc

Lucy Crowe, soprano
BBC Symphony Orchestra
Edward Gardner, conductor

A disc of Lutoslawski's vocal works including 'Chantefleurs et Chantefables', 'Silesian Tryptych' and 'Lacrimosa'.

As steals the morn... Handel

A dramatic collection of solo arias and scenes for tenor drawn for oratorio and opera - some of HANDEL's most lovely music, brilliantly performed by Mark Padmore and The English Concert, led by Andrew Manze. The concluding duet As steals the morn with soprano Lucy Crowe is an added bonus.
Harmonia Mundi