Die Fledermaus, Welsh National Opera
“Prince Orlofsky is a tough role, and Emma Carrington is particularly good with dialogue and at evincing the boredom of the Russian millionaire: ‘Ich lade gern mir Gäste ein’, about an adolescent experiencing issues with a breaking voice, was stylishly sung.” Classical source (June 2017)

“We get a trouser role in guise of Prince Orlofsky, played here by Emma Carrington. Her Russian accent is clearly a send up and her singing voice pierces through, in the announcements of more food and drink.” The Sprout Blog (June 2017)

Prince Igor‚ Chelsea Opera Group
“Emma Carrington seemed to have conquered her announced cold to provide an impassioned and vocally sensuous account of Konchakovna‚ her duet with Andrew Ree’s subtly voiced Vladimir Igoryevich being one of several genuine highlights.” Opera Magazine (December 2016)

Akhnaten‚ English National Opera
“The score calls for relatively solo singing‚ but the two women completing the central trio were well taken by Emma Carrington (sculpting a warm mezzo line as Nefertiti) and Rebecca Bottone (bright - toned as Queen Tye.)” Opera Magazine (May 2016)

“Emma Carrington and Bottone as Nefertiti and Queen Tye‚ respectively‚ match Costanzo with their beautiful sound. When singing together – like in the Window of Appearances scene – the three become one polyphonic sound that moves and soothes. The powerful love duet between Akhnaten and Nefertiti is a masterclass in balance and sound quality‚ carrying the melody with ease and soul.” A Younger Theatre (March 2016)

“...Add to this Anthony Roth Costanzo’s extraordinary other-wordly voice – made even more extraordinary when combined with Emma Carrington’s beautiful‚ statuesque Nefertiti” Cross Eyed Pianist (March 2016)

“His bittersweet timbre mingles voluptuously with the darker tones of Emma Carrington‚ playing his wife Nefertiti.” Evening Standard (March 2016)

“Emma Carrington was a rich-toned Queen Nefertiti” MusicOMH (March 2016)

“wife Nefertiti was sung with warm vibrancy by Emma Carrington‚ both of them with concentrated levels of intensity. The intermingling lines of Akhnaten and Nefertiti’s Act II love duet were a particular musical highlight” Opera Britannia (March 2016)

“they are serenely sung by Emma Carrington and Rebecca Bottone” Sunday Times (March 2016)

“No praise too high for Emma Carrington’s luscious Nefertiti” The Independent (March 2016)

“Emma Carrington‚ new to ENO‚ impresses as Nefertiti” The Times (March 2016)

“Emma Carrington’s Nefertiti‚ by contrast‚ radiates sensuality‚ bringing a richness to the duets...” Timeout (March 2016)

The Rake’s Progress‚ Teatro Municipal de Santiago
“Among the great voices of the cast of singers‚ we must emphasize ... Emma Carrington British mezzo-soprano as Baba the Turk” Radio Bio-Bio (July 2015)

“...the International cast was outstanding. The leading quartet of Jonathan Boyd (Tom‚ the libertine)‚ Anita Watson (Anne Trulove)‚ Wayne Tiggers (Nick Shadow) and Emma Carrington (Baba)‚ gave life to their characters and dazzled with their powerful voices” (July 2015)

“Of all the female performances Emma Carrington as Baba the Turk was the most striking both for its physical characterization as shown in her empowering the role‚ which started more than a smile and with humorous interpretation...Emma Carrington ’s performance ‚ as Baba the Turk captured all eyes” Desde la Butaca (July 2015)

“The mezzo Emma Carrington was a delight with her intense and fun Baba the Turk” Economía y Negocios (July 2015)

“...Emma Carrington‚ in her role as Baba‚ steals the show” La Canción no es la misma (July 2015)

“Emma Carrington as Baba the Turk has a great physical impact (turned into a transvestite) and sang with powerful and beautiful voice” (July 2015)

Die Walküre (Act III) Welsh National Opera at Millennium Centre

“And the vocal prowess of every performer matched that of the orchestral players‚ starting with an impressive band of warrior maidens. Each and every one was full-blooded in their singing but there was also something else. Perhaps it was the obvious enjoyment these eight singers conveyed singing as ensemble‚ but there was not only a sense of sisterly camaraderie but also a real sense of competition between these maidens. And special mention must go to Katherine Broderick‚ Meeta Raval‚ Camilla Roberts and Emma Carrington. Superb” LietoLondon (April 2015)

The Magic Flute‚ Welsh National Opera

“There was also an impressive trio of ladies – nicely individual and yet formidable as a team” Classical (June 2015)

“The ensemble support was fine too: including the splendidly lascivious Three Ladies” The Birmingham Post (June 2015)

“The appearance of the aproned Three Ladies got things racing along with excited high-spiritedness. First Lady Camilla Roberts’s crystal clear tone and vibrancy delivered a strong lead for the individually differentiated but well-blended trio of ‘maids’‚ while Emma Carrington’s Third Lady provided a well-centred foundation for Roberts’ and a vivacious Máire Flavin. All three made the most of Jeremy Sams’s engaging translation to hook us into the absorbing quest ahead‚ their lively rivalry and sincere concern for Tamino stimulating our own curiosity and compassion” Opera (March 2015)

“...the Queen’s Three Ladies. Well sung by Camilla Roberts‚ Máire Flavin and Emma Carrington” Seen & Heard International (March 2015)

“This was altogether a strong cast...her three ladies (Camilla Roberts‚ Máire Flavin‚ Emma Carrington) equally attractive in tone‚ lifting their skirts to entice Tamino into breaking his vows and losing Pamina” (February 2015)

“Camilla Roberts‚ Máire Flavin and Emma Carrington are perfect. They all sing with great clarity and have great delight in their roles” Theatre in Wales (February 2015)

“Gorgeous of voice and sensual by nature are the Three Ladies (Camilla Roberts‚ Emma Carrington and Maire Flavin)” (February 2015)

Carmen‚ Welsh National Opera

“Frasquita and Mercédès were well portrayed by Samantha Hay and Emma Carrington” Seen & Heard International (November 2014)

“Frasquita (Amy Freston) and Mercédès (Emma Carrington) were sharply characterised and brightly sung” Birmingham Post (November 2014)

“Emma Carrington’s Mercédès gave notice of a future Carmen” classical (November 2014)

“It’s testimony to the singers in the smaller roles‚ particularly Samantha Hay and Emma Carrington‚ packing pleasingly contrasting voices as Frasquita and Mercedes‚ that the ensembles like the Card Trio and quintet had more show-stopping quality than the familiar arias” What’s On (October 2014)

La Colombe‚ Buxton Festival

“...and his servant Mazet‚ a travesti role impressively sung by Emma Carrington” Opera (September 2013)

“Mazet‚ a trouser role for alto Emma Carrington... Carrington was excellent throughout the work‚ singing and acting with aplomb and squeezing as much humour as possible from her ample part” (July 2013)

“The cast nevertheless give it their all...manfully supported by Emma Carrington as his mezzo male servant” The Guardian (July 2013)

“Emma Carrington was brilliant in the travesty role of Mazet‚ convincing from the word go as a rather grubby servant boy‚ full of charm and cunning. A truly outstanding performance.” Planet Hugill (July 2013)

“In the travesti role of his servant Emma Carrington sang and acted with conviction” Seen & Heard International (July 2013)

“The whole production is splendidly played...but Emma Carrington steals the show with her comedic gifts as Mazet” The Arts (July 2013)

Die Feen‚ Chelsea Opera Group‚ Queen Elizabeth Hall

“...Eva Ganizate and Emma Carrington complemented each other as respectively sympathetic and scheming fairies Zemina and Farzana” Classical (March 2013)

“All the principals did well...The dramatic mezzo of Emma Carrington‚ as Farzana‚ also caught the ear” The Guardian (March 2013)

“My favourite characterization of the whole evening‚ however‚ came from Emma Carrington‚ who imbued the role of the meddling fairy Farzana with a degree of heavy irony that was delicious to behold. In addition‚ her mezzo is wonderfully dusky” Opera (March 2013)

Die Walküre‚ Opera North

“The Valkyries acquitted themselves confidently‚ not least in their final ensemble” Opera (August 2012)

“Equally impressive were her eight Valkyrie sisters‚ all of whom had a ferocious presence‚ both vocally and in character. Together‚ Miriam Murphy‚ Katherine Broderick‚ Jennifer Johnston‚ Emma Carrington‚ Meeta Raval‚ Madeleine Shaw‚ Antonia Sotgiu and Catherine Hopper made a fiercely resonant sound which carried over the orchestra‚ even when they were playing with all their might” Opera Britannia (June 2012)

Maria Padilla‚ Chelsea Opera Group

“Emma Carrington in the role of Francisca had some lovely moments and it is a much bigger voice than I previously supposed” capricciomusic (May 2012)

“Best of all was Emma Carrington who made quite an impact in the short role of Francisca; she has a wonderfully rich imposing sound that I look forward hearing in something more worthwhile sooner rather than later.” Seen and Heard (May 2012)

Béatrice et Bénédict‚ Chelsea Opera Group

“Emma Carrington brought her luxuriously velvety mezzo to Ursule; the duet at the end of Act I was the musical highlight of the evening.” Jonathan Burton - Words and Music (November 2011)

“Carrington is possessed of an extremely striking contralto voice and I would love to have heard more of her.” Planet Hugill (November 2011)

Rusalka‚ Grange Park Opera

“Emma Carrington contributed a genuinely scary Jezibaba: her elegance and hauteur made the session with the meat cleaver somehow more frightening‚ and she sang with passion and conviction” Opera (August 2011)

Francesca da Rimini‚ Opera Holland Park

“Musical highlights include the delightful Act III spring song from Francesca’s ladies (Madeleine Shaw‚ Emma Carrington‚ Anna Leese and Gail Pearson)” Oxford Times (August 2010)

Katya Kabanova‚ Scottish Opera

“Emma Carrington made a vocally sumptuous Kabanicha” Opera (November 2009)

“As the malevolent Kabanicha‚ Emma Carrington may not have the authority of an older figure‚ but her arch sexiness is disturbing in its own way” The Guardian (September 2009)

“Emma Carrington as Kabanicha‚ the mother-in-law from hell‚ was deliciously vampish. Instead of the usual hectoring morality and outraged Hyacinth Bucket type creation we are all used to seeing‚ Miss Carrington’s Kabanicha was a touch seedy‚ morally bankrupt and personally dangerous. More Mae West than Mrs Bucket‚ her slow destruction of her daughter-in-law’s life was pretty vicious” Opera Britannia (September 2009)

White‚ Scottish Opera

“Emma has taken full possession of her part and is acting with the harrowing weight of past loss: I couldn’t imagine the character any better than this” Financial Times (February 2009)

Flight‚ British Youth Opera

“Emma Carrington’s Older Woman completely reinvented the Nuala Willis role with her lovely big alto and total stage-assurance” Opera Now (November 2008)

La Calisto‚ Royal Academy of Music

“The mezzo Emma Carrington stood out in the dual role of the goddess Diana and as Giove disguised as Diana‚ projecting strongly” Opera (July 2008)

Le Nozze di Figaro‚ Royal Academy of Music

“Emma Carrington was glorious as the pantomime-dame Marcellina and worth looking out for in the future” Opera Now (April 2008)

“Emma Carrington’s Marcellina‚ which was astonishingly generous in tone and projected a vivacious stage presence” Opera (January 2008)