The resplendent, no-nonsense soprano of Rebecca Evans – on superb form, as is she so often – perhaps had the best of Elgar's inspiration as the Angel Gabriel, her early address beautifully woven around the string textures so that her higher notes floated above it like a gentle epiphany. Guy Dammann, The Guardian, 12 August 2012

...there were things to savour in the performance. Soprano Rebecca Evans extracted Verdian grandeur from her parts as the Angel Gabriel and the Blessed Virgin. Michael Church, The Independent, 13 August 2012

A world class Susanna herself, Rebecca Evans returned to her equally world-class depiction of Countess Almaviva. Evans gave us a master class in cleverly pacing this demanding role, and her assuredness of vocal technique and noble characterisation was a vocal feast. Her diminutive stature gave the Countess a frailty and a smattering of the milk of human kindness, but her vocal reserves are richly hued, especially in the ensembles and the fiendishly beautiful 'Dove sono'. Her inventive ornamentation flowed with pathos before allowing the finely paced last section of the aria to contain a steel edge, showing that this Countess would not continue to suffer her roving husband’s cruelty. This Countess had stature and nobility and Evans’ artistry is perfectly at home in this role. This was clearly her natural habitat! Bethan Dudley Fryar, Opera Britannia, March 2012

WNO favourite Rebecca Evans vividly bears the Countess’s sorrows. Geoff Brown, The Times, 27 February 2012

Vocally the stand-out performance was that of Rebecca Evans. She brought a weight and depth of emotion to a production which was fairly heavily slanted towards the humorous... It was in her that the rich humanity of the work found fullest expression; her performance of ‘Dovo sono’ would alone have justified a long trip to Cardiff. Glyn Pursglove, Seen and Heard, 28 February 2012

Evans's lustrous tone Rian Evans, Guardian, 27 February 2012

Rebecca Evans (Countess Almaviva) reprises her role with polish and assurance. Jenny Longhurst, Wales on Line, 27 February 2012

Vocally and dramatically, Rebecca Evans is a Despina of the highest possible class. George Hall, The Stage, 13 September 2010

Particularly delightful were [Thomas Allen's] scenes with his Despina, superbly realised by Ms. Evans.  The two had tremendous chemistry together; like Sir Thomas, she embodied her role with a completeness that seemed intuitive, offering myriad laughs as much during her immaculately delivered recitative as her delectable ‘Una donna a quindici anni’.  She sang the part as flawlessly as I have heard it done, her upper and lower register secure and her enunciation spot on.  She assumed the disguised roles of the surgeon and the notary with panache; as with Sir Thomas’s Don Alfonso, it is difficult to imagine a more convincing performance of Despina on offer. John E. de Wald, Opera Britannia, 14 September 2010

Thomas Allen's Alfonso and Rebecca Evans' Despina are impeccable. Tim Ashley, The Guardian, 13 September 2010

Rebecca Evans is [Thomas] Allen’s match as his wily gopher Despina. Evans makes the most of her disguises as a quack doctor and a fake judge, and she’s even more entertaining with her furtive slurps of Starbuck’s hot chocolate and her ability to sing through a mouthful of doughnut.

Mark Valencia, What's on Stage, 11 September 2010

Vocally, though, the main interest for me was in Rebecca Evans's ideal Despina. Combining a rich tone, an idiomatic sensitivity to the text and impeccable comic timing, her performance could scarcely be bettered. Her arias were both beautifully sung, and her participation in the ensembles was always noteworthy. Dominic McHugh, Musical Criticism, 11 September 2010

As the scheming Don Alfonso, Thomas Allen once again gives a supreme performance, wonderfully acted, sung and gestured. He is matched by Rebecca Evans as the sassy Despina; she is a joy to observe and listen to. For these two artists alone this production is worth seeing or returning to. Colin Anderson, The Opera Critic, 10 September 2010

Ideal for her role was Rebecca Evans as Alfonso’s co-conspirator Despina, another captivating singer with a wonderful gift for comedy. She reminded me of a younger brunette version of Barbara Windsor and she seemed to have as much fun as the quack doctor and notary, as we did in watching her. Jim Pritchard, Scene and Heard, September 2010

Evans’ Despina is the fruity voice of guiltfree pleasure.

Neil Fisher, The Times, 12 September 2010

Rebecca Evans’ radiant Mimì... Hugo Shirley, Opera, March 2010

Rarely have I heard a more musically sophisticated performance than that given by the Polish tenor Piotr Beczala as Rodolfo and the Welsh soprano Rebecca Evans as Mimì.  Here was perfect phrasing and intonation, everything sung with real feeling, and a tenderness that was often deeply moving.  Evans, one of the leading Mozart sopranos of today moves up with ease for her first big Mimi. David Mellor, The Mail on Sunday, 17 January 2010

This current performance signaled Rebecca Evans in her ROH debut as Mimì, a tender, warm and open vocal performance, gently humorous and endearingly timid in character, and dying with dignity: very believable and moving. Colin Anderson, The Opera Critic, 10 July 2010

Mimì was sung by Rebecca Evans, marking her Royal Opera debut in the role…all her instincts were honed, as her account in the last two acts displayed, and it was her ability to show off a dramatic core that made her interpretation successful…Evans' Mimì, made this night more than worthwhile. Kevin Rogers, Classical Source, 11 January 2010

The cast could hardly be better. Rebecca Evans sings with sweet vulnerability as the naive young governess. Warwick Thompson, Bloomberg, 29 October 2009

Rebecca Evans's superbly judged, utterly humane Governess. Andrew Clements, The Guardian, 23 October 2009

Rebecca Evans, as the Governess driven to dangerous distraction, returned faultlessly to the role. Nick Breckenfield, What's On Stage, 23 October 2009

Rebecca Evans sang with scrupulous care and a degree of fine abandon as the Governess. Stephen Jay-Taylor, Opera Britannia, 24 October 2009

The outstanding Rebecca Evans. Richard Morrison, The Times, 26 October 2009

Rebecca Evans as the governess sings with power and clarity, charting her journey through hysteria and horror with detailed insight. Warwick Thompson, The Metro, 26 October 2009

Rebecca Evans sings the Governess almost too beautifully, and acts her with blazing conviction. Rupert Christiansen, The Telegraph, 26 October 2009

As the Governess, Rebecca Evans has never sounded better, and I can't imagine the role being more engagingly or movingly performed. Nor could the singing be faulted: a move to a slightly heavier repertoire (Mimi, Liu, Countess Almaviva) has given Evans' voice an extra weight without losing any of the beauty, and the Governess sounds fully sung into her voice. The level of expression she achieves is striking, with numerous colours and textual nuances, while the sheer loveliness of the voice remains a pleasure every time I encounter her. Her first Covent Garden Mimi is something to look forward to in a couple of months' time. Dominic McHugh, Musical Criticism 26 October 2009

Rebecca Evans sings the Governess with much beauty. Richard Fairman, Financial Times, 27 October 2009

Rebecca Evans and Ann Murray, respectively the Governess and Mrs Grose, are a dual lynchpin of great voices, great characters and complete verbal clarity. Evans is heart-rending, lovelorn over her crush on the children's absent guardian and driven to distraction by her understanding of the children's fate. Jessica Duchen, The Independent, 29 October 2009

She is wonderfully warm of voice, right to the extreme high registers of the part [and] her diction is excellent. Alexander Campbell, Classical Source, October 2009

The role of the Governess is often described as Britten’s finest soprano role. It certainly sounded that way in a riveting, note-perfect performance from Rebecca Evans. David Mellor, The Mail on Sunday, 01 November 2009