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.
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.
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.
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 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.