Lucy Crowe

Introduction

Lucy Crowe has established herself as one of the leading lyric sopranos of her generation. Described as having a voice of bell-like clarity with an impeccable vocal technique and powerful stage presence she has performed and recorded with many of the world's greatest conductors. These include Yannick Nezet-Seguin, Emannuelle Haïm, Sir John Eliot Gardiner, Sir Charles Mackerras, Sir Roger Norrington, Trevor Pinnock, Mark Minkowski and Harry Bicket. She made her Salzburg Festival debut under Ingo Metzmacher. She has given recitals throughout the UK including London’s Wigmore Hall.

Her operatic roles include Servilia (‘La Clemenza di Tito’) for the Metropolitan Opera, New York; Belinda (‘Dido and Aeneas’) and Gilda (‘Rigoletto’) for the Royal Opera House, Covent Garden;  Sophie (‘Der Rosenkavalier’) for the Deutsche Oper Berlin, the Bayerische Staatsoper, Munich and Covent Garden; Poppea (‘Agrippina’) and Drusilla (‘The Coronation of Poppea’) for English National Opera;  Dorinda (‘Orlando’) in Lille, Paris and for the Opera de Dijon and ‘The Fairy Queen’ and the title role in ‘The Cunning Little Vixen’ for Glyndebourne Festival Opera.  She made her US Opera debut as Iole in Handel’s ‘Hercules’ for the Chicago Lyric Opera.


Future concert engagements include the City of Birmingham Symphony Orchestra under Gardner; Mahler 4 with the Konzerthausorchester Berlin under Iván Fischer; and a Messiah tour and recording (Virgin Classics) with Emanuelle Haim.  Future operatic engagements include Gilda for the Deutsche Oper Berlin, Iole in Toronto; Rosina (‘The Barber of Seville’) for English National Opera; and Susanna (‘Le Nozze di Figaro’), Adina (‘l’Elisir d’Amore’) for the Royal Opera House, Covent Garden. 

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

THE SUNDAY TIMES

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

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Media Player

Video


  • Handel 'Let the bright Seraphim'

Audio

Schedule

Barbican Centre, London


Programme

Handel: Imeneo 

Rebecca Bottone - Rosmene
Lucy Crowe - Clomiri

Vittorio Prato -Imeneo
Stephan Loges -Argenio

The Academy of Ancient Music / Christopher Hogwood

Symphony Hall, Birmingham

Sibelius: Symphony No.3
Lutoslawski: Chantefleurs et Chantefables
*****
Sibelius: Luonnotar
Lutoslawski: Symphony No.3

City of Birmingham Symphony Orchestra
Edward Gardner, Conductor
Lucy Crowe, Soprano

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Interviews

Please click here to read Il Tenero Momento's interview with Lucy Crowe - September 2012

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

Please click here to read musicOMH.com's interview with Lucy Crowe - October 2007

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Press

Rossini

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, www.classicalsource.com, 4 January 2013

Mozart

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

Beethoven

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

Janacek

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

Verdi

Rigoletto

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

Mendelssohn

Elijah

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

Recordings

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'.
Chandos

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