Emma Morwood

Emma Morwood » Reviews

“Emma Morwood sang and acted the Child superlatively... An evening to remember.” Michael Kennedy, Opera Magazine, Ravel's L'enfant et les Sortilèges at the RNCM, March 2008

“Emma Morwood's vividly sung and acted Child brought out the role's naïve menace with elegance and economy.”Lynne Walker, Opera Now, Ravel's L'enfant et les Sortilèges at the RNCM, March 2008

“As the child, Emma Morwood, petulant and plaintive, sings beautifully and holds the stage.”Philip Radcliffe, Manchester Evening News, Ravel's L'enfant et les Sortilèges at the RNCM, March 2008

“Again, an inspired performance by Emma Morwood brought this work alive.”Glyn Mon Hughes, Liverpool Daily Post, The Punishment of Lust, Royal Liverpool Philharmonic Orchestra Ensemble 10/10, June 2008

“Of the soloists, Thomas Eaglen - singing Count Almaviva - was outstanding: mature, confident and with a rich voice. The same could be said of Emma Morwood, who sang Susanna. She took this demanding role in her stride.”Glyn Mon Hughes, Liverpool Daily Post, Le Nozze di Figaro with Liverpool Mozart Orchestra, February 2008

“The strains of Mozart's lovely Laudate Dominum, voiced confidently by young Emma Morwood during Communion, likewise helped to make this no ordinary Sunday service.”Conrad Wilson, The Herald, Haydn Paukenmesse, St Michael and All Saints' Church, August 2008

“The Cinderella story has done much to perpetuate the myth that all stepfamilies are inherently evil and there was much gurning at the audience and hilarity from the wicked stepfather Don Magnifico (Alastair McCall); and Clorinda (Emma Morwood) and Tisbe (Serena Kay) made splendidly bitchy, nasty stepsisters.”Isle of Man Today, Rossini's Cinderella in the Mananan International Festival, September 2008

“Emma Morwood's voice is well suited to the servant arias from Mozart she began with, and in Benedeit Die Sel'ge Mutter, from Wolf's Italienisches Liederbuch, she showed she appreciated the greater demands of long phrases, sustained notes and a piece which changes in character within itself. Dans L'Herbe, in her group of Poulenc songs, was effective, and the final group, in more relaxed mood, went down very well indeed with her appreciative audience.”Robert Beale, Manchester Evening News, solo recital in St Anne's Church, Manchester, November 2004