Elin Pritchard gives a particularly accomplished performance as Mimì as her rich yet sensitive soprano shapes phrases to perfection.

Elin Pritchard’s performance makes a strong impact through her soaring, radiant lines which are imbued with hopefulness and vitality until very near the end, emphasising the tragedy of the character’s life cut short.

As for Mimi, the wonderful Welsh soprano and fellow WNO veteran Elin Pritchard delivered a sublime performance that brought her frailty to the forefront.

Mimì (soprano Elin Pritchard) manages to create a sense of urgency whilst singing with a radiant sweetness. She can act, too!

Longborough’s new production of opera’s most-renowned love story brings us a uniformly brilliant cast of principals, headed by the simply stunning Mimi of Elin Pritchard. Her body-language as a waif-like consumptive is totally convincing, but her voice soars above all tribulations, coloured and shaded, gradually collapsing in tone as her end approaches.

most striking of all, Elin Pritchard is wonderful as Zemfira herself. She outshines almost everyone else on the stage in vocal power and purity, and throws herself into the role with exceptional passion and skill.

In Aleko, soprano Elin Pritchard shines brighter than others on stage with her powerful and pure vocals. She immerses herself in the role with exceptional passion and skill.

The Welsh soprano Elin Pritchard is entrancing both in voice and stage presence.

Elin Pritchard a soprano from Wales put her heart and soul into the passionate role and displayed an even vibrato with a strong and secure tone.

Welsh soprano Elin Pritchard was a charmingly amiable Zemfira, lover of the older Aleko, her voice agile, her acting superb.

Elin Pritchard is the star of Aleko, singing with blazing intensity and giving her all in the difficult role of Zemfira.

The performance by Elin Pritchard as Zemfira in the concluding scene, is perhaps worth going to this night of operatic crimes of passion alone.

Elin Pritchard, is an exceptional singer and mover, with a charisma that holds the stage. A role model of feminist energy, playfulness and cunning.

Elin Pritchard’s vixen is a triumph vocally and in her physical performance. She creates a character that’s feisty and full of fun.

Pritchard made a terrific radical feminist. Pritchard’s strong, limpid tones conveyed total emotional involvement with the part, with a lightness which matched her foxy mischief.

Elin Pritchard announced her promise in the Grange Festival’s 2019 Falstaff where she was a stunning Alice, and her Vixen did not disappoint. Her shining top notes and warm phrasing are ideal in this role.

Elin Pritchard: exuberant and wide-eyed, with a sunbeam soprano that bounces effortlessly over Janacek’s bristling orchestra.

Elin Pritchard, the Vixen, was rich in tone and sparky in her acting, eyes and movements capturing the cunning and liveliness which are a large part of the story’s attraction. The love duet of Act Two, with their voices both soaring clearly over the orchestral sound and followed by a surge of joy to end the scene, was a highpoint of the whole evening.

Elin Pritchard sings Mimì with admirably crisp clarity, successfully maintaining an ideal balance between projecting herself winningly in one of opera’s great soprano roles and expressively representing in music her emaciated, declining state.

Elin Pritchard, as Mimì, and Aoife Miskelly, as Musetta, shine giving by far the best performances. Pritchard, who was a superb Michäela in a past WNO’s Carmen, is graceful and powerful. She conveys a tender tragedy infused with love and loss.

Elin Pritchard was a lovely Mimì, singing with a relaxed, easy upper register. If sometimes she seemed to be holding back a little, then this just emphasised her frailty and when she did open up, as in Act 1’s ‘Sì, mi chiamano Mimì’, she released a rich and vibrant soprano. Later, though, Pritchard emphasised Mimì’s vulnerability and her evocation of both physical frailty and naïve hope in the closing Acts was persuasive and touching.

Elin Pritchard, a graduate of the Royal Welsh College of Music, shares a beautiful and warm chemistry with Yun which is a key component of making this La Boheme such an emotionally devastating evening at the opera.Pritchard does not need a glamorous outfit or stylish shoes to embellish and draw the eyes of the audience to her performance. Her art comes through the grace and lyricism of her sweetly textured soprano delivery which strikes right into the heart

To carry this off, the production needs a Manon who can not just sing the part, but inhabit this damaged psyche. It has that and more in Elin Pritchard who is nothing less than sensational. Her performance alone warrants serious efforts to acquire a ticket. Quality of acting was extremely high; she gave us a Manon who buries her trauma under a desire for the superficial, but has devastating flashes of self-realisation and pure misery. Her final scene was deeply moving, face riven with pain and sorrow as she finally comes to terms with her experiences. Pritchard’s voice too was a delight; a warm, gleaming instrument that is supported at the top and is full of colour.

Elin Pritchard sensational performance of Manon Lescaut. From her ability to transform from school girl, to kept femme fatale and ultimately exiled and doomed victim of her own beauty, she was as dramatically impressive as her singing heart-stopping. An actress singer of such strength, agility and vocal beauty. Captivating throughout, the final scene was gut wrenching.

With her sweet, silvery tone, Pritchard sounds lovely throughout, does wonders with her two big arias, and eventually gains our compassion as Manon’s life gradually spirals out of control.

Pritchard is an exciting young soprano, and this role debut suggests there’s much more to come.

Elin Pritchard, who building on a beautifully judged underplayed opening, stole the overall vocal and dramatic honours with her portrayal of Micaela.

For me the performance of the night (and judging by the audience reaction at the curtain call) was Elin Pritchard’s Micaela, this Welsh soprano delivered faultless, impeccable singing; every word audible.

Micaela, the superb Elin Pritchard, is unusually strong and avoids the timid-maiden-from-the-village cliché that sometimes sucks the life out of the role. She has a glorious soprano voice and makes us believe that she really would risk death in the mountains to call Don Jose back to his home village and his dying mother.

Some excellent performances, Including that of young Welsh soprano Elin Pritchard a heart-breaking and totally believable Micaëla. Pritchard’s pure soprano soars into the realms of absolute joy.

There was good reason to catch the changed cast on the second night of the production at Copenhagen's old stage (November 20), as it featured the Welsh Soprano Elin Pritchard as a strong Tatyana, her voice creamy and consistent, with a cultivated vibrato revealing a technique of rare finesse.

​The thoughtful and sensitive sister is portrayed by Welsh Soprano Elin Pritchard, and let me just say right away that this artist is going places. It is rare that I have experienced such an expressive and intense sound with such superior technical excess in a lyrical soprano. The fragile pianissimo remains expressively piercing and passionate, and the most violent fortissimo get's the nuances and colours that so few others can portray. The Russian text and wonderful music lie so beautifully in Pritchard's voice that you need almost no subtitles, together with Tatyana fall in love.

Elin Pritchard’s voice is developing into a really special instrument; it’s sizeable with plenty of depth and the registers are obviously well integrated – her forays at the top of the voice were a delight – but there’s a gorgeous warmth to her singing, a delicacy and a sense of humour that lightens the weight of her voice. Her Alice Ford was a boisterous, amiably conniving character, mischievous both towards her would-be lover and her distrustful husband; Pritchard made her a character you would long to befriend.

Elin Pritchard’s peachily sung Alice, the most Italian-sounding of the singers in her radiant lyrical effusions. She is integral to a team without a weak link.

and as for Elin Pritchard, her singing was some of the finest we’ve heard recently. This is the creamy tone, ecstatic phrasing and honeyed delivery which mark out a true Verdian soprano, and one can easily imagine her as Violetta, or Elizabeth in Don Carlos.

After Norma’s opening scene, I feared that we would not have an Adalgisa who could match Dix’s vocal authority. I need not have worried: Elin Pritchard’s rich soprano conveyed all the emotional urgency and vacillation of the youthful Adalgisa, who is not burdened with such vast responsibilities but who is driven by overpowering passions. The persuasive characterisation of Pritchard’s Adalgisa was enhanced by the fact that she had learnt the part well enough to sing almost entirely off-score throughout. I’ve seen two of Pritchard’s recent performances, and her Adalgisa confirmed her impressive dramatic and vocal range. It’s hard to imagine a role more different to the motorbike-obsessed Marie in Opera della Luna’s production of Donizetti’s The Daughter of the Regiment at Wilton’s Music Hall this summer; and, if she had had no trouble ascending to Marie’s high Es, then the luxurious richness of her middle register which had been so strongly in evidence during her performance as Miss Jessel in Regent Park’s The Turn of Screw once again made its mark. One sensed every atom of Adalgisa’s passion, anguish and guilt during this terrific performance.

​Elin Pritchard, who plays the part of Violetta, delivers an emotionally-charged performance full of rich yet high tones.

Unapologetic opulence is balanced with a stark realisation of humanity and mortality in this performance – a must-see, beautiful time-warp of an experience.

Stand-out musical turns came from Pritchard’s Nedda, whose range and timbre brought goosebumps in the crescendos of her arias; the chemistry between her and Silvio was sincerely acted

His unfaithful wife, Nedda, is outstandingly sung by Elin Pritchard, who sings and acts everyone else off the stage. Her voice is magical and her characterisation of Nedda is superb.

Elin Pritchard superbly captured the volatility and passion of his wife Nedda, soaring effortlessly at the top of her range.

Elin Pritchard was outstanding and very amusing, playing the sexy vamp to perfection.

Elin Pritchard's archetypal blowsy Russian maiden-no-more Kupava is the stand-out, a bundle of squeals and foot-stamping whose acting almost conceals what a consummate soprano she is.

The performance of Elin Pritchard as Kupava, the jilted bride of Mizgir, is the outstanding performance of the night. She has everything needed for the role. She possesses a beautiful soprano voice and a convincing acting talent, but also a quirky talent for comedy which brings a lightness to the story, and a smile to the audience. Her facial expressions and physical signs of contempt continue even when the highlight is on others and she has no part in the action. The actress lives the part, and is totally immersed in the emotions of Kupava as she fights for her rightful justice.

Elin Prichard shone as Kupava, a wonderful Russian country girl. Prichard's Welsh heritage may have been helpful in producing her gorgeous voice and feisty attitude: There is a reason why her countrymen are often great rugby players and/or great singers - she played both, and is clearly not a girl to be crossed in love

in this production, the fairy tale princess is outshone by a human – Kupava.There are a lot of reasons why You see, she’s loud, flamboyant and hilariously funny, demanding attention every time she’s on stage. Her boastful affection, vengeful heartbreak and drunken antics not only make her likeable, but familiar too – we all know someone like her, and that endears us to her.

Elin Pritchard was in terrific voice as the feisty Kupava, played as a vodka-soaked jilted bride in a wedding dress resembling a giant Italian meringue, providing plenty of opportunities for comic exaggeration. Pritchard has a strong spinto soprano, remarkably even through her entire range, and a dramatic stage presence.....

"Elin Pritchard's Musetta completely steals Act 11" and that she "had a ball as a brilliant-toned Musetta, laser-sharp top notes soaring."

Elin Pritchard's gloriously charismatic Musetta, every inch the self-conscious stage queen, yet most genuine in concern and charity at the close, would have been worth the price of admission alone.

“Elin Pritchard’s Musetta could conquer the world…”

"Elin Pritchard has both the strength and quality of voice to make 'Quando m'en vo' an undoubted highlight of the evening."

“Elin Pritchard stole the show with a wonderfully shrewish portrayal of the worldly, flirtatious Musetta. She sang the famous Waltz in Act 2 with ravishing brio investing the famous melody with seductive allure whilst producing electrifying top notes.”

"Musetta’s waltz, delivered by Pritchard from the tavern’s table top, is every bit the showstopper Puccini intended."

This year's La bohème...stars two young sopranos, Anna Patalong and Elin Pritchard, who are quite the crème de la crème. Small wonder it's a triumph.Pritchard is fabulous: she steals the stage and delivers her waltz with such style and eloquence that (Andrew) Finden's Marcello is putty in her hands."

Soprano Elin Pritchard soared like a seagull but was also a controlled whispered breeze in sombre passages.”

"Soprano Elin Pritchard was able to ride the combined might of the orchestra and chorus with ease, producing thrilling sounds and great beauty of line.”

The most sensational singing of the evening, and indeed of the whole festival, came from Elin Pritchard as Lucia. From her beautiful opening aria, this young Welsh soprano's command of the part was evident, and her mad scene was an astonishing tour de force of both acting and singing.

Pritchard is a young Lucia but sings with imagination, intelligence and an alluring middle register.

it was a treat to encounter a young soprano who allowed so much musicality into her approach to a demanding role. Her scene with her brother was a masterly clash of egos. Her colouraura became more nimble as the evening progressed, until a mad scene of gripping clarity, where she entwined exquisitely with the solo flute.

Elin Pritchard’s Lucia, especially is already a portrayal of huge promise, closer in style to the pre-Callas exponents of the role, but pearly of tone. She made the mad colouratura flights of fancy sound easy – no mean feat.

Pritchard singing her first major role, showed remarkable promise, meeting the many vocal challenges that Lucia presents, while coping as an actress pretty well with the demands of the opera’s celebrated mad scene.

Elin Pritchard sang Lucia with superb clarity and projection: her mad scene was well worth the wait, the lyricism of her soprano matched by her expressiveness, portraying Lucia in a storm of brilliant confusion, her vivid memories and emotions fighting across her overthrown mind.

Elin Pritchard blossoms in her big aria, allowing the warmth to flow out. the arts desk. Micaela is beautifully sung.

Elin Pritchard's dark, brooding Miss Jessel, sang with exemplary clarity and concern for interpretational nuance.

Elin Pritchard offers vocal and physical presence aplenty as Miss Jessel.

Soprano Elin Prichard's "Qui la voce... Vien, diletto" is the Act II "mad scene" where Elvira believes she has lost Arturo, and bemoans her fate. Prichard has a clear pure top to her voice which opened out to a big-toned, thrilling finish in this challenging aria

It was fascinating to watch the singers take on the roles even in concert performance, particularly Prichard's Lucia, the pawn in this amorous struggle. Her Act II duet "Apprestati... il pallor funesto" with de Souza's Enrico was a dramatic unhappy affair with characters in fierce temper, a strongly and exhilaratingly sung tour de force

At its heart is a breathtaking Violetta. The young Welsh soprano Elin Pritchard turned heads when she stood in for Carolyn Sampson as Scottish Opera's Anne Trulove in the Rake's Progress last season; evidently the company recognised something of a star, and given free reign as leading lady she is a vocal standout. Supple, husky, beautifully natural in the high notes and seductively full in the low, she has mastered the technical demands of this role…… She's a compelling actor, too, if not always entirely convincing…….. she bravely played the Sempre Libera as a scene bordering on madness and didn't overdo the piety in the third act. Without doubt a name to watch.

Elin Pritchard was a suitably feisty Violetta whose strong, richly coloured voice, hit all the high notes with ease.

Her strong soprano voice and physical stamina passed the Violetta test with an A*, especially in the famous Sempre libera at the end of Act I and in the emotionally explosive duet with Giorgio Germont in Act II.

despite the absence through illness of Carolyn Sampson, whose place as Anne Trulove was bravely taken by Elin Pritchard.............Sweet-toned and poised if understandably a tad cautious in her big aria, she did an admirable job, presenting the character without simpering affectation or special pleading.

Vocal values are high, with Sprague's tensile tenor offset by Pritchard's empowered soprano.

Elin Pritchard, singing the part of the female chorus, most notably carries the tone of the opera from an anxious sense of impending doom to a dark, lingering sorrow.

the Fox, though played by a woman, Elin Fflur Pritchard, was ideal, really almost the star of the show.