“Lucia’s maid Alisa, sung by Carolyn Dobbin, was an electrifying presence.”
Alisa: Lucia di Lammermoor / Castleward Opera / Opera Now

“I had been impressed with Dobbin’s account of Teodata in Flavio last week, and Dobbin continued to impress here as well. The part requires vocal flexibility in what is quite a low lying part, and Dobbin sang as though the part fitted her voice admirably.”
Bradamante: Alcina / English Touring Opera / Music and Vision

“Carolyn Dobbin was an elegant Bradamante, singing with a honeyed and clear tone, but the decision to have her placed silently in the background during much of the final act, proved to be more of a distraction than an effective supra-narrative.  She did however possess a solid technique with superb breath control, and duly brought off the demanding “Vorrei vendicarmi” in Act II without sounding as if she was gargling with a mouthful of marbles, which is ordinarily the case with most Bradamantes at this point.”
Bradamante: Alcina / English Touring Opera / Opera Britannia

“The other lustrous performance, albeit in a more conservative capacity, came from the Bradamante of Carolyn Dobbin, the one cast member common to both Alcina and Flavio, this time in a much more familiar Handelian archetype: the wronged woman in male disguise chasing her faithless beloved.”
Bradamante: Alcina / English Touring Opera / Opera Today

“Thanks to Natasha Jouhl’s bright, round tone, Alcina the enchantress is no vocal wimp. Nor is Celeste Lazarenko’s ravenous Morgana; though neither beats Carolyn Dobbin for projection of syllables and character as Bradamante, the desperate wife of Alcina’s new lover.”
Bradamante: Alcina / English Touring Opera / The Times

“Vocally, it's exceptionally strong…the real stars are Carolyn Dobbin's provocative Teodata and Paula Sides's Emilia…”
Teodata: Flavio / English Touring Opera / The Guardian

“Teodata is a soubrette mezzo sort of a role and is played with relish by Carolyn Dobbin, who has a powerful voice but a light, comic touch where required. Her scenes were an absolutely delight…”
Teodata: Flavio / English Touring Opera / Opera Britannia

“Carolyn Dobbin captures her uncomplicated sexiness beautifully, with a relaxed and attractive presence and excellent diction.”
Teodata: Flavio / English Touring Opera / Opera Today

“The elusive, mood of Flavio — a farce of social-climbing and sexual infatuation that suddenly slithers into murder — is beautifully conveyed, especially by Paula Sides, a pinpoint-accurate high soprano, and Carolyn Dobbin, a warm-toned mezzo with a mischievous comic touch.”
Teodata: Flavio / English Touring Opera / The Times

“…Carolyn Dobbin’s lustrous Teodata…”
Teodata: Flavio / English Touring Opera / What’s On Stage

“There are, of course, other strong performances across the five nights…Carolyn Dobbin playing love-struck wenches (Teodata, Flavio and Bradamante, Alcina) with mettle and wit…”
Handelfest / English Touring Opera / Opera

“Carolyn Dobbin may have been billed as a mezzo but has real richness in the true alto notes of her range, and the profound simplicity of her He Was Despised with just the spare organ line was a highlight.” Messiah / Edinburgh Royal Choral Union / The Herald

“...the ensemble swung along with great spirit, Carolyn Dobbin’s brassy maid Lisetta the most engaging of a likeable bunch.”
Lisetta: Il mondo della luna / Opera Della Luna / Opera Now

“Nilon delivered Rodney Blumer’s haunting translation of the unknown Czech author’s words with uncompromising clarity, while Dobbin portrayed his Gypsy seductress with the most luscious tone.”
The Diary of One Who Disappeared / Bath Festival / The Guardian

 “This was a voice with glitter and real focus.”
Ottavia: L’Incoronazione di Poppea / RSAMD / Opera

“Henriikka Grondahl is well complimented by Carolyn Dobbins richer, chestier Dorabella.”
Dorabella: Così fan tutte / Northern Sinfonia / The Guardian

“...the excellent Three Ladies (Natasha Jouhl, Carolyn Dobbin, Alexandra Sherman, looking every inch the femmes fatales in their black Fifties frocks and stockings).”
Second Lady: The Magic Flute / Opera Holland Park / The Times

"The stand-out vocal performance of the evening for me however was that of Carolyn Dobbin, singing Hoffmann’s Muse and Nicklaus. From her slight, boyish frame onstage came a gloriously stream of well-directed and carefully articulated sound, her diction as precise as the centre of each note that she hit. Dobbin loses nothing in force and clarity as she moves into the lower mezzo register and as a result her portrayal of the role was outstanding: a beautiful sound at the top of her voice and a real spinto effect in the middle of her range. This was classy singing and her ovation at the end of the evening told its own story.
Nicklaus: The Tales of Hoffmann / Mid Wales Opera / Musical Criticism

"…the superb Carolyn Dobbin…"
Nicklaus: The Tales of Hoffmann / Mid Wales Opera / The Times

“...splendidly flanked by Caroline Dobbin and lestyn Davies as the cackling witches...”
First Witch: Dido and Aeneas / OAE / The Times

“Carolyn Dobbin was just right as the seductive Maddalena.”
Maddalena: Rigoletto / Castleward Opera / Opera

“But the real touch of pure magic was ultimately afforded by the delightful voice and charming demeanour of Carolyn Dobbin, whose effortless delivery and clear diction were simply a joy to hear, and which positively left the appreciative audience spellbound!"
Alchemy: Magic, Words and Song / Ten Tors Chamber Orchestra / Plymouth Herald