Marzelline: Fidelio / Opera Holland Park
“Sarah Redgwick’s scared, wonderfully sung Marzelline kept this production motoring.”
The Independent
“Sarah Redgwick was a bright and spirited Marzelline, her doubts over her future with Jaquino after she discovers the truth about Fidelio touchingly drawn.”
The Sunday Telegraph
“Sarah Redgwick – a 100 watt light bulb of a voice – a most promising songbird.”
The Times
Marzelline: Fidelio / Opera Holland Park Revival
“Sarah Redgwick was the much put upon Marzelline and sang the role with bright and clear tones.”
Classical Source
“Sarah Redgwick as Marzelline, for example, was as attention-grabbing as much in the spoken dialogue as when singing.”
Musical Criticism
“As his daughter Marzelline,Sarah Redgwick acquitted herself well; her tone was strong and lovely, and she managed to depict Marzelline’s naïve infatuation with Fidelio well. Her soprano was at its best in the Act I quartet, where, along with Ms Howard, she drew out the luminous tenderness of the piece.”
Opera Britannia
“…the excellent Sarah Redgwick…”
The Oxford Times
Marzelline: Fidelio / Scottish Opera
“Sarah Redgwick was an enchanting Marzelline with beautiful diction.”
Opera Japonica
“Sarah Redgwick was a fluent and lyric Marzelline.”
The Independent
“Sarah Redgwick’s clearly and lightly sung Marzelline…”
The Stage
“Marzelline, sung with happy brightness by Sarah Redgwick…is a channel for the overwhelming joy, hope and freedom that cannot help bursting through even the grimmest moments."
The Times
Giannetta: L’elisir d’amore / Scottish Opera
“…Giannetta turns to gold in the hands of Sarah Redgwick, whose one major aria is worth waiting for.”
The Scotsman
“An honourable mention must be made of Sarah Redgwick’s remarkable Giannetta. Here is a gorgeous lyric soprano who, no doubt, would make an excellent Adina in her own right. What she did sing was very memorable, plus her small performance was punctuated by a feisty persona which grabbed your attention. It’s a flashy bright sound that makes you wonder why she isn’t singing the title role. But with Miss Xanthoudakis’s fabulous assumption of Adina, it was the audience who benefitted from hearing two such exquisite voices in one evening.”
Opera Britannia
Pousette: Manon / Scottish Opera
“…the excellent Sarah Redgwick, Catriona Barr and Louise Poole…”
The Independent
Donna Elvira: Don Giovanni / English National Opera
“Sarah Redgwick was a late substitute for the ailing Rebecca Evans. She alternated between pride and vulnerability, convinced on stage insofar as the production would permit her, and presented a properly Mozartian line.”
Boulezian
“Although I had been looking forward to the indisposed Rebecca Evans’s Donna Elvira, Sarah Redgwick was a highly commendable substitute, not only confident in the role vocally, but in her interactions with the other characters, and as sure-footed around the whirling pieces of staging as if she had walked it a hundred times.”
ConcertoNet
“…Sarah Redgwick was magnificent as Donna Elvira…”
The Daily Express
“…Sarah Redgwick, an excellent last-minute substitute for an ailing Rebecca Evans…”
The Daily Telegraph
“…Donna Elvira's eleventh hour "Mi tradi" which so clearly becomes an anthem on behalf of abandoned and abused women everywhere. Sarah Redgwick, a late but confident substitution for the indisposed Rebecca Evans, had the look and the breathiness of Judy Garland here but generally sang with real incisiveness.”
The Independent
“…Sarah Redgwick's Donna Elvira has the heart-on-sleeve energy of Judy Garland, all liquid eyes, knockout legs and restless hands.”
Independent on Sunday
“Sarah Redgwick also gives a storming performance as Donna Elvira...”
Londonist
“Sarah Redgwick was standing in for the indisposed Rebecca Evans, which made her stage confidence, forthright phrasing and ringing tone all the more remarkable.”
Music OMH
“Sarah Redgwick stepped in for an indisposed Rebecca Evans and was immediately impressive…”
Musical Criticism
“Redgwick’s Elvira took the palm – she was far the best of the ladies – and that first-night chance heralds a brilliant career.”
Musical Pointers
“But however hideous the set or incoherent the costumes, good casting rides to the rescue. Brindley Sherratt is in magnificent voice as a grubby Leporello, Sarah Tynan delightful as Zerlina; and Sarah Redgwick, standing in at short notice for an indisposed Rebecca Evans, is a real find as Donna Elvira.”
The Observer
“…Elvira was taken by Sarah Redgwick, and a very convincing portrayal it was. Clad in a raspberry-coloured suit and wearing Ruby Wax hair and make-up, she appeared-appropriately-just a bit demented in the obsessive pursuit of her traditor.”
Opera
“Ms. Redgwick’s soprano voice is not expansive, yet it proved consistently appealing. Her characterisation was excellent, and she sang with precision and beauty throughout the performance.”
Opera Britannia
“The cast tried their best to inject some frisson. The women fared best. Deputising at the last minute for Rebecca Evans (afflicted with infected sinuses), Sarah Redgwick was dramatically convincing as the scorned and scornful Donna Elvira. Attired in a sharp red suit, her ‘Mi tradi’ was clear and penetrating, and she never once became the nagging harridan or neurotic hysteric of Giovanni’s imaginings.”
Opera Today
“Standing in for an indisposed Rebecca Evans, Sarah Redgwick shines brightly as Donna Elvira…”
The Stage
“Sarah Redgwick gamely replaced an ailing Rebecca Evans at short notice to give the most compelling dramatic performance of the evening.”
The Sunday Times
“Major congratulations go to Sarah Redgwick, who took over the part of Elvira at short notice—and ran with it. Her Act II aria "Mi tradì quell'alma ingrata" is delivered with entirely believable passion.”
Wall Street Journal
“…Sarah Redgwick, a late replacement for an indisposed Rebecca Evans, impresses as Donna Elvira…”
What’s On Stage
Susanna: Le nozze di Figaro / Opera Holland Park
“Sarah Redgwick’s Susanna lights up the stage.”
The Stage
“Sarah Redgwick’s Susanna runs the girl-power show with bustling efficiency.”
The Times
Mimì: La bohème / Scottish Opera On Tour
“...Sarah Redgwick and Nicholas Ransley make a quietly sympathetic central couple, her Mimì touchingly believable in her frailty...”
The Guardian
Berta: Il barbiere di Siviglia / Scottish Opera
“Sarah Redgwick made a huge impression in the small role of Berta…”
Musical Criticism
“Sarah Redgwick sketched a lively Berta and her soprano soared confidently over the first-act finale.”
Opera
“And Sarah Redgwick’s Berta was always a pleasure, bustling around, vocally adroit: the perfect Rossini servant.”
The Times
Rosalinda: Die Fledermaus / London Lyric Opera
“I particularly enjoyed the rivalry in the ball scene between Rosalinda (Sarah Redgwick) and her maid Adele (Ana James), two really impressive young sopranos.”
Musical Pointers
“Redgwick, singing in a warm lyric soprano, had the poise, good taste and understated humour for her role…the Czardas was agreeably insinuating.”
Opera
“Ms Redgwick made a very interesting and insightful, and at times moving, Rosalinda. She sang with easiness and style, displaying an assured coloratura and excellent comic timing. Her rendition of the famous Csárdás, in Act II, demonstrated what a fine singer she is, and also her ability to connect and effectively project the character to the audience.”
Seen and Heard
Anna: Intermezzo / Scottish Opera
“Sarah Redgwick’s Anna has charm...”
The Observer
“…Sarah Redgwickas Anna had a voice which made one want to hear more.”
Opera Britannia
“…Sarah Redgwick makes a great deal out of the Storchs’ knowing maid, Anna.”
The Stage
Violetta: La traviata / Scottish Opera
“…Sarah Redgwick, who sang and acted the role beautifully.”
The Opera Page
Actor: A Night at the Chinese Opera / Scottish Opera
“...special praise to Rebecca de Pont Davies, Stephen Chaundy and Sarah Redgwick for their hilarious harlequinade.”
The Daily Telegraph
“…Rebecca de Pont Davies, Sarah Redgwick and Stephen Chaundy are hilariously virtuoso travelling players.”
The Times