RCM Britten Theatre
“You are filling a theatre with personhood and beauty”
Edith Weins 22/01/2017
Radio 3 Intune live broadcast with Sean Rafferty
“…overwhelmed by her passion for the music and also her beautiful singing.”
Laurence Cummings 22/02/2017
The Guardian – Faramondo – The London Handel Festival 2017
“…particularly outstanding; Eyley, silver-toned and effortless, is by turns virtuosic and exquisite.”
https://www.theguardian.com/music/2017/mar/21/faramondo-review-london-handel-festival
The Guardian 22/03/2017
The Stage – Faramondo – The London Handel Festival 2017
“Harriet Eyley is spirited as Faramondo’s sister Clotilde.”
The Stage 22/03/2017
Opera Today – Faramondo – The London Handel Festival 2017
“Soprano Harriet Eyley sparkled as a gamine Clotilde.”
http://www.operatoday.com/content/2017/03/london_handel_f.php
Opera Today 22/03/2017
Planet Hugill – Faramondo – The London Handel Festival 2017
“Harriet Eyley really grasped the opportunities offered to her, and faced with a performance of such engaging charm and vivid vitality, had the gift of not just being able to sing the arias, but to make us believe in them, her gamine charm coming over and winning our hearts.”
http://www.planethugill.com/2017/03/a-problem-no-more-william-reltons.html
Planet Hugill 24/03/2017
Classical Source – Faramondo – The London Handel Festival 2017
“Harriet Eyley appeared as a demure Clotilde, Faramondo’s sister, but her solid singing suggested otherwise, and she emerged with triumphant vigour in the memorable and virtuosic aria ‘Combatutta da due venti’ (the opera’s hit number) which she enacted slickly and amusingly.”
http://www.classicalsource.com/db_control/db_concert_review.php?id=14405
Classical Source 24/03/2017
The Critic’s Circle – Faramondo – The London Handel Festival 2017
“Soprano Harriet Eyley as Clotilde sang with volume which belied her diminutive stature, and summed up the confusions all around as she delivered a despairing monologue aria while swigging from a gin bottle.”
The Critic's Circle 27/03/2017
Opera Today – Les mamelles de Tirèsias
‘It also needs a sterling Thérèse to initiate the absurdities and sustain the (in)credibility of the ensuing preposterousness, and in Harriet Eyley, the RCM were blessed with a fine singing actress who projected imposingly but with a vocal warmth which assuaged some of Thérèse’s feisty unreasonableness. The challenging coloratura was sung with penetrating precision and a sparkle of panache.’
http://www.operatoday.com/content/2017/07/a_french_double.php
01/07/2017
