“Soprano Avery Lafrentz showed a voice with real potential in the Germanic repertoire, colouring every word with emotion and showing consistent strength in the top of the voice.” – Dominic Lowe, Bachtrack
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“Avery Lafrentz as Iolanthe find[s] a rich emotional depth in [her] aria… It’s emotionally and technically excellent singing.” – Tom Malachi, A Young(ish) Perspective
“Avery Lafrentz sang an imposing Iolanthe: this is more of a mezzo role but with numerous top Bs, and she negotiated the wide tessitura well. She was forceful where necessary but exuded sensuality where appropriate, declaring at one point in the direction of Heinrich that she wanted to be conquered, and yet was not averse to flirtations with her henchmen either. There was a commanding chill in her voice as she descended into alto-like depths for her ultimatum to Heinrich to follow her or die.” – Alexander Hall, Opera Today
“there’s strong singing to enjoy from… Avery Lafrentz” – Richard Morrison, The Times
“the leather-clad, man-eating Iolanthe, sung by Avery Lafrentz. While all the women in this opera are infused with the kind of assertive feminism you would expect from Smyth, the prominent suffragette, this latter role is the most memorable and here it is delivered with intensity worthy of a future Valkyrie.” – Tom Hochstrasser, Plays to See
“Avery Lafrentz manoeuvred her huge, hard-edged soprano effectively as Iolanthe.” – Flora Willson, The Guardian
“Anna Maurrant is interpreted by Avery Lafrentz… Her arias with Italian opera accents are magnificently rendered, with a well measured emotional curve and great vocal control.” -Benjamin Goron, Revue L’opera
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