PRESS
​
Flight - Opera Magazine September 2022, Peter Reed
"Blessed with a lyrical and affecting mezzo voice, Emma Roberts delivered a fine portrayal of vulnerability blooming into self-assertion when she went into labour."
"The fullness and varied colours of Roberts' beautiful mezzo capture Hansel's adolescent restlessness. By turns sulky and soft-hearted, his bravado is balances with a vulnerable need to be loved."
​
Royaumont - Classykeo.com Aug 2023, Leon Luchart
Hansel and Gretel RCM March 2022 Opera Today - Claire Seymour
"Theo Perry and Emma Roberts, two more exceptional and strong young talents whose mutual and collective dynamism, both vocally and theatrically, far surpass held expectations of student-based opera productions"
​
"Speaking of Act 3, the highlight of the act was Minskwoman's "reborn" aria...With a commanding presence and a lyrical richness which bespoke not only her character's supreme honesty but Emma the woman and daughter off the stage, her awakened sense of self at the realisation of her motherhood was astounding."
"As soon as Orfeo (Emma Roberts) opened her mouth to sing, I knew were in for something special – she had the most wonderful, powerful mezzo voice, a very expressive face and natural-looking gestures. Her rendition of the famous ‘Che faro’ aria was genuinely moving."
Hastings Battle Axe
Flight - Opera Wire July 2022, John Vandevert
"Roberts gets to do much of the heavy lifting as Orfeo and sings beautifully, her mezzo-soprano ringing out through a somewhat unforgiving acoustic space."
"Intriguing, beautifully sung, female-led operatic double bill...Roberts' rich, powerful voice and sensitive bearing is well suited to the conflict experienced by Orfeo"
Broadway World ****
Barefoot Opera Orfeo/Zanetto
The Stage UK ****
"Emma Roberts and Emma Cayeux offered us the cycle of Lieder eines Fahrenden Gesellen by Mahler. With Emma Roberts, we moved to a mezzo-soprano range, although here again very changeable and difficult to put into a box. We observed during this part of the concert a brilliant ability to restore the emotional charge of a text. The singer's firmness was always striking but never excessive. Emma Roberts knows how to wonderfully create the poetic and artistic illusion of an inner turmoil, and we trembled before the majesty and technical mastery of the held notes. We were also able to feel how tenuous the boundaries between Lied and opera can become when the performer knows how to make her prosody so dramatic and tortured, brilliant and stubborn."
Lark Reviews UK
"And that brings me to the glorious alto performance from Emma Roberts... Roberts can really act convincingly which is vital in this bijoux performance in an intimately small space. And she is adept at carving out resonant low notes and making them speak poignantly. It isn’t easy to deliver a pot boiler like Che faro senza Euridice and carry it off as if it’s fresh because nearly everyone in the room has vivid sound memories of Kathleen Ferrier and Janet Baker. Roberts, however, does a fine job, packed with anguish as she mourns over the body of the now finally lost Euridice (Lizzie Holmes) and I was moved by her poignant ornamentation on the final repeat."