Home Page
REVIEWS
Review by Matthew Connolly (Classical source). Kings, Witches, Lovers & Souls – Cumbria Opera, 2024
“Anna Cooper’s rich, powerful mezzo soprano voice sang us through the storylines…the standout performer was Anna Cooper, whose force of charisma, both in voice and stage presence, led the whistle stop tour of this mythical county safely out of all danger in the end.
Review by Susannah Moody (Bach Track). The Duchess of Padua, The Music Troupe, 2024
“Playing Ferranti, mezzo soprano Anna Elizabeth Cooper boasts a powerful voice, with real maturity in her lower register. She handled the leaps and bounds of the score deftly, focusing on intensity of emotion into the occasional purple prose. In the style of Romeo, she portrayed Ferranti’s naive idealism sweetly, but when resolving to kill the Duke and rid herself of pity, she had a fleeting powerful moment of Lady Macbeth.”
Review by Malcolm Fawcett (Theatre Director). Cosi fan tutte @ The Temple Speech Hall, Rugby 2023
“But for me, the women in this piece are its main attraction…all I would say is that if any company in this country is looking for a Fiordiligi Dorabella or Despina they need look no further!!!! Whenever the Dorabella ( Anna Cooper ) was on stage I could not take my eyes off her! A tall commanding very attractive figure on stage her facial expressions and total identification made hers an exceptional interpretation! Added to this she sailed through both her arias with tremendous aplomb- her “ E Amore un ladroncello” being particularly memorable. An artist to watch!”
Review by The Art Desk. YA Eugene Onegin by Tchaikovsky @ Opera Holland Park, London 2022
“The Olga and Lensky of Anna Elizabeth Cooper and Jack Roberts both have a clear and direct vocal style. Cooper in particularly stands out, even from this fine cast, for her vocal agility and supple, clear phrasing.”
Review by Planet Hugill. YA Eugene Onegin by Tchaikovsky @ Opera Holland Park, London 2022
“Anna Elizabeth Cooper was a delightful Olga, a real live wire and something of a flirt. Cooper made Olga highly active and restless, and there was a vibrancy and lightness to her singing which made you believe that she was young.”
Review by Art Muse London. YA Eugene Onegin by Tchaikovsky @ Opera Holland Park, London 2022
“Robert’s pairing with Anna Elizabeth Cooper, singing Olga, was inspired, and their tenor-contralto combination, a complete joy.”
Review by Colin Clarke, Seen and Heard International. Il mondo della luna by Haydn @ RCM, London 2019
“…As regards the singing, there were some notable contributions, particularly perhaps from the Lisetta, Anna Cooper. It is no surprise to learn she has previously essayed Cherubino, and one feels assured that was a success. Cooper has terrific stage presence and her phrasing is ever stylish.”
Review by Peter Reed, Classical source. Trouble in Tahiti by Bernstein @RCM, London 2019
“…Anna Cooper’s mezzo has the colour for Dinah’s distress, but ‘There is a garden’ (‘Porgi amor’ for the 1950s) worked its sad magic, even more so in the scene where Sam and Dinah wife meet by accident during the day and lie to each other about their lunch dates.”