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 Antonio Pappano, Sir John Eliot Gardiner, Sir Charles Mackerras, Sir Roger Norrington, Edward Gardner, Andris Nelsons, 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 and the 2013/14 season sees her recital debut at Carnegie 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 engagements include concerts with Iván Fischer in Berlin, a European tour with Haïm, Rome with Pappano, Munich with Gardiner, the London Symphony Orchestra under Elder, and the Philharmonia Orchestra with Salonen.  Future operatic engagements include Iole in Toronto; Susanna (‘Le Nozze di Figaro’) and 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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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

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

Handel

Hercules

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

Mozart

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, ClassicalSource.com, 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

Handel

Imeneo

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

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

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
 
Chandos

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