Company: Santiago Opera House · Production: The Turn of the Screw
Role: Mrs. Grose |
Susannah Self (Mrs Grose) posee excelentes medios vocales, de muy buen volumen, al mismo tiempo que su musicalidad y su comprensíon del personajele permitieron dar al mismo un inusitado relieve e importancia dramática, complementándose en forma excelente con la soprano Mihai en las numerosas e importantes escenas que abordan juntas.
“Susannah Self (Mrs. Grose) possesses excellent vocal means, of very good volume, while her musicality and comprehension of character gives an unusual relief and dramatic importance, being complemented in excellent form with the soprano Mihai in the numerous and important scenes that they have together.” |
| Francisco Gutiérres Dominquez, El Mercurio, 2006 |
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Company: Santiago Opera House · Production: The Turn of the Screw
Role: Mrs. Grose |
Junto a la excelencia de ambas quizá haya que destacar a Susannah Self, una mezzo de imponente figura y muy atractivos medios vocales, con su amplitud de registro y eficaz desempeño escénico.
“Perhaps next to the excellence of both it is necessary to emphasize Susannah Self, a mezzo of imposing figure and very attractive vocal means, with her amplitude of registry and effective scenic performance.” |
| La Segunda, 2006 |
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Company: Landestheater Salzburg · Production: The Turn of the Screw
Role: Mrs. Grose |
| Susannah Self created the loyal Mrs. Grose with superior voice. |
| TheaterKritik, March 2005 |
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Company: Landestheater Salzburg · Production: The Turn of the Screw
Role: Mrs. Grose |
| Susannah Self splendidly cast as the housekeeper Mrs. Grose reveals a noble vocal style in the proverbial "fine English manner". |
| Reichenhaller Tagblatt, March 2005 |
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Company: Landestheater Salzburg · Production: The Turn of the Screw
Role: Mrs. Grose |
| Susannah Self is a British singer who also sings Mistress Quickly in Salzburg, her Mrs. Grose was as good as any I have heard. |
| Hugh Canning, Opera Magazine, 2005 |
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Company: Opéra du Rhin (Strasbourg) · Production: Cendrillon
Role: Madame de la Haltière |
| Susannah Self as the stepmother, Madame de la Haltière, drawing on full mezzo richness and trenchant vocal emphasis. |
| Neue Merker, Wien, April 2003 |
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Company: Opéra du Rhin (Strasbourg) · Production: Cendrillon
Role: Madame de la Haltière |
| Madame de la Haltière (stepmother) is presented distinctively and with extreme self-confidence by Susannah Self. Her voice is exactly right for the characterisation of the role. |
| Mittelbadische Presse, Kehler Zeitung, April 2003 |
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Company: Landestheater Salzburg · Production: The Turn of the Screw
Role: Mrs. Grose |
| Susannah Self, a mezzo with a velvety and even timbre. |
| www.forumopera.com, April 2003 |
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Company: Opéra du Rhin (Strasbourg) · Production: Cendrillon
Role: Madame de la Haltière |
| Susannah Self energetically establishes the personality of Madame de la Haltière. |
| Dernières nouvelles d'Alsace, March 2003 |
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Company: D'Oyly Carte Opera Company (Savoy Theatre) · Production: The Mikado
Role: Katisha |
| But there are compensations elsewhere, especially Susannah Self's superb Katisha. Not only can she really sing, but she defuses the old Gilbertian joke at the expense of middle-aged women by treating the Mikado's daughter as a tragically lonely figure who, in the course of "Hearts do not break" turns into a bald prima donna. The pay-off comes, however when Self totally reinvents herself for the climax, enthusiastically brandishing her right elbow and suggesting that Ko-Ko may have got the best marital deal. |
| Michael Billington, The Guardian, 2002 |
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Company: D'Oyly Carte Opera Company (Savoy Theatre) · Production: The Mikado
Role: Katisha |
| Susannah Self's rampantly severe but paradoxically sympathetic Katisha is as good as you'll find. |
| Brian Hunt, Evening Standard, 2002 |
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Company: D'Oyly Carte Opera Company (Savoy Theatre) · Production: The Mikado
Role: Katisha |
| Jasper Carrott comes into his own with the Titwillow solo, before sharing the triumph of a duet with Susannah Self's gorgeous Katisha. |
| John Thaxter, The Stage, 2002 |
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Company: D'Oyly Carte Opera Company (Savoy Theatre) · Production: The Mikado
Role: Katisha |
| Susannah Self as Katisha sings beautifully. |
| Lisa Graham, Metro, 2002 |
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Company: Opéra du Rhin · Production: The Beggar's Opera
Role: Mrs. Trapes |
| ... le baryton Alan Opie, la contralto Susannah Self (Mrs. Trapes) et tous les autres complétant une distribution parfaitement homogène. |
| Région l'Alsace, 15.2.2000 |
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Company: Opéra du Rhin · Production: Peter Grimes
Role: Auntie |
| "La contralto Susannah Self incarnée une savoureuse et colorée Auntie, hôtesse de bar dont la voix recèle une incontestable séduction." |
| L'Alsace, 13.6.99 |
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Company: Vlaamse Opera · Production: Lulu
Role: Gymnasiast & Groom |
| Susannah Self was exceptional in the role of Gymnasiast and Groom |
| Standard, 29.1.99 |
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Company: Muziektheater Transparant · Production: Happy End
Role: Lilian |
| ... one must single out the supple mezzo of Susannah Self (Lilian), who offered us a superb 'Surabaya Johnny'. |
| Le Soir, January 1998 |
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Company: Muziektheater Transparant · Production: The Medium
Role: Mme. Flora |
| With the mezzo Susannah Self, (Mme. Flora) there is a real 'big' opera singer: with a powerful voice and a verismo energy. |
| De Morgen, March 1997 |
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Company: Berliner Kammeroper · Production: Sade-Teresa
Role: Teresa |
| Susannah Self's darkly coloured, prolific mezze (as Teresa) comes across with great control. |
| Opern Welt, August 1996 |
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Company: Seville Opera House · Production: Bach Magnificat & Handel Dixit Dominus |
| ... a concert of extraordinary character ... we particularly noticed the warm sound of [Susannah] Self, her tone was sweet, velvety and her part was sung with clarity and a well-placed sound. |
| El Correo de Andalucia, December 1994 |
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Company: Opera Factory · Production: The Rake's Progress
Role: Baba the Turk |
| ... Baba the Turk is much more than just a freak. Susannah Self's poised singing alone sees to that, and her scene with Anne (Mary Plazas) rightly emerges as a - if not indeed the - pivotal point of the drama. |
| The Times, 1994 |
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