Maxine Robertson Management offers the highest standards of personal management to a hand-picked list of fine young and established Conductors, Singers and Opera Directors



Claudia Huckle


Claudia Huckle

Contralto


"Behind Claudia Huckle's compelling Lucretia one really can sense the distant presence of Kathleen Ferrier, the great contralto for whom this role was written; Huckle's performance is finely judged, with its climax all the more thought-provoking for being understated - this Lucretia's post-rape 'shame' is existential."
Michael Church
The Independent

Christian Curnyn


Christian Curnyn

Conductor


"Find anything exciting happening in period opera in the UK and Curnyn will be involved, whether it’s conducting at the Wanamaker or ENO, recording Handel or directing his own projects. Last week’s concert performance of Rameau’s Castor et Pollux was a perfect example[…]With such vivid, compelling persuasion, surely the UK can’t continue to hold out against the charms of Rameau, Lully and Charpentier?”
Alexandra Coghlan
The Spectator

Lukas Jakobski


Lukas Jakobski

Bass


“The Polish bass Lukas Jakobski stamped himself upon the part from every possible angle. There was his voice, cavernous and emphatic; his significant height (he’s as tall as the Shard); his glaring red tie. Startling gestures too...The dynamic Jakobski...”
Geoff Brown
The Times

Sunnyboy Dladla


Sunnyboy Dladla

Tenor


"The star of the evening is Sunnyboy Dladla with his beautiful lyric tenor voice and delightful acting, earning himself many ‘Bravos’."
John H. Mueller
Der neue Merker

Sally Matthews


Sally Matthews

Soprano


"Better still were the virtuoso Mozart arias delivered with incandescent verve by the soprano Sally Matthews..."
Richard Morrison
The Times

"...a perfect Countess...her predicament was clear...the voice itself is gorgeous, full lyric..."
Robert Levine
International Record Review

Diego Masson


Diego Masson

Conductor


"Musical director Diego Masson presides over all with keen attention, picking out all the details of Britten’s score, sculpting alternatively rich and sharp sounds from an orchestra in fine fettle.”
Charlotte Valori
Backtrack

Maite Beaumont


Maite Beaumont

Mezzo-Soprano


"Maite Beaumont als Ruggiero plädiert mit ihrem glutvoll-innigen Mezzosopran überzeugend dafür, dass Frauen durch die Wärme ihrer Bruststimme legitimen Anspruch auf Händels Kastratenrollen erheben dürfen."
"Maite Beaumont as Ruggiero with the inner radiance of her mezzo-soprano makes a convincing case that women, by reason of the warmth of their chest voice, can lay legitimate claim to Handel's castrato roles."
Frankfurter Allgemeine Zeitung, February 2015

Mark Padmore


Mark Padmore

Tenor


"...Mark Padmore's tenor caught on prime form. Such pleasing timbre, such luminous diction, such sensitivity to word and phrase, such restraint but also strength...I do not think the latest version can be bettered."
Piers Burton-Page
International Record Review

Andrew Tortise


Andrew Tortise

Tenor


"...Andrew Tortise’s compelling account of the Prologue, three minutes that can pass for very little in performance. Tortise sang superbly as Quint for the rest of the evening, too, the frequent passages of melisma that Britten gives the character stripped of all archness and affectation and delivered with an ease of voice production that rendered their malevolant insinuations all the more unsettling."
Terry Blain
Opera

Judit Kutasi


Judit Kutasi

Mezzo-Soprano


"Judit Kutasi was a very funny Dame Quickly. Her dark, rich mezzo and excellent timing made her the perfect foil for Terfel’s aging but still quick-witted knight. They both gave as good as they got. "
Seen and Heard International

Rosemary Joshua


Rosemary Joshua

Soprano


"As the heroine Romilda, Rosemary Joshua far eclipses her counterparts on rival recordings, singing with sweet, sensuous tone and characterising deftly. She can be blithe, as in her Act 2 aria ‘Se l’idol mio’, but brings a fiery intensity to her agonised central aria, ‘È gelosia’."
Richard Wigmore
Gramophone

Thomas Walker


Thomas Walker

Tenor


"Thomas Walker was bold in the tenor arias, delivering a sensual 'Comfort Ye', an unflinching 'Thy rebuke hath broken His heart' and a menacing 'Thou shalt break them'."
Kate Molleson
The Guardian

Elena Galitskaya


Elena Galitskaya

Soprano


"Unter den Solisten Präseniierte sich am überzeugendsten die junge Russin Elena Galitskaya als llia...die mit klar timbriertem, in der Höhe leuchtendem Sopran und exakter Artikulation enorme Bühnenpräsenz ausstrahlte..."

"Among the soloists, the most convincing is the young Russian Elena Galitskaya - with glowing well-articulated high notes and radiating an impressive stage presence..."
Opernglass

Garry Walker


Garry Walker

Conductor


“Presiding musically over the show is conductor Garry Walker, who shows a profound understanding of the colours and textures of Janacek's idiosyncratic writing, and draws exceptional playing from the Garsington Opera orchestra.”"
George Hall
The Stage

Ruby Hughes


Ruby Hughes

Soprano


“Her singing is exceptional for its consistency. Though her tone is light and delicate, it’s invariably true in pitch and capable of a surprising range of dynamic variety – a perfect instrument of its kind. Every word she sings comes through clearly.”
George Hall
BBC Music Magazine

Marcus Farnsworth


Marcus Farnsworth

Baritone


As dangerous Eddy, the award-winning young baritone Marcus Farnsworth is electrifying. He has no trouble with the demotic accent and conveys the character’s anger, panic and perky charm with intensity and empathy. He also has an instinctive musicality that never makes the vocal line sound over-studied or phoney. He must have a great career ahead of him.
Rupert Christiansen
The Telegraph

Antonello Allemandi


Antonello Allemandi

Conductor


"...under the direction of Antonello Allemandi, the orchestra sparkled with lightness and cohesion"
Sébastien Foucart
Concertonet

Elena Sancho-Pereg


Elena Sancho-Pereg

Soprano


"There was only one soprano, but a delightful one - Elena Sancho, whose resinous timbre reminded me of Ileana Cotrubas. Her Spanish songs were rich in melismatic melancholy and a vivid performance of Ophelia's mad scene from Thomas' 'Hamlet' showed off a gorgeous top register and fluent coloratura. "
Rupert Christiansen
The Telegraph

Elizabeth Watts


Elizabeth Watts

Soprano


"Elizabeth Watts confirmed her place as one of Britain’s leading sopranos as the traduced Iole, desolate in her lament for her lost home, but a match for Dejanira when accused of being Hercules’s lover. Like a cornered lioness, eyes flashing, claws out, we felt her bitter scorn in 'Ah, think what ills the jealous prove'. And yet, when Dejanira’s downfall was complete, her honeyed sweetness in 'My breast with tender pity swells' was deeply moving."
Stephen Pritchard
The Observer

Douglas Boyd


Douglas Boyd

Conductor


"He is one of the major British occupants of a rostrum today and will be increasingly recognised as such. He has the born conductor's ability to make music sound fresh, to detect its inner life and pulse and to expose them without over-exposing them and to make his players give more than they thought they could."
The Sunday Telegraph

Markus Stenz


Markus Stenz

Conductor


"Markus Stenz, the Baltimore Symphony Orchestra’s new principal guest conductor, worked several kinds of magic Saturday at Strathmore. […] This new appointment by the BSO was a coup; Stenz makes the orchestra play beyond itself, and future appearances should not be missed."
Washington Post

Edgaras Montvidas


Edgaras Montvidas

Tenor


"Montvidas, on the other hand seems perfect from the start...pleasing on the ear, and matched by touchingly earnest acting. His 'Una Furtiva Lagrima' is done with a rare gracefulness rather than showboating histrionics."
Richard Morrison
The Times

James Newby


James Newby

Baritone


Newby's 'Papageno's Aria' was intensely idiomatic, the sad clown incarnate, and he invested in 'Erlkönig' with dark dramatic force, while his account of Butterworth's 'Is My Team Ploughing' was exquisitely nuanced.
Michael Church
The Independent

Stuart Jackson


Stuart Jackson

Tenor


"Stuart Jackson sang Pierre with haunting, wistful coolness. The melismatic writing hinted at another outsider, Britten's Peter Grimes, a role for which this tenor is surely destined."
Fiona Maddocks
The Observer

"...but Stuart Jackson was the big discovery...the ethereal sweetness of his tone plus his accomplished artistry surely mark him out for a brilliant future"
Michael Church
The Independent

"...Stuart Jackson impressed me then as a fantastic find...with bright, clear almost helden resonance that filled the space but also served the text. A dazzling combination..."
Michael White
The Telegraph

Gavan Ring


Gavan Ring

Baritone


"...the lavish talents of Gavan Ring in the title role...agility of a gymnast and the vocal command of a sergeant-major: his bel canto was both supple and forthright..."
Martin Dreyer
Opera

Karen Cargill


Karen Cargill

Mezzo-Soprano


"But the Scottish mezzo Karen Cargill brought such exquisite expression and a warm, vibrant and ample voice to the part that she thoroughly outclassed her colleagues onstage. Here, finally, was a singer who could control multiple dimensions, singing with fervent intensity without raising the volume and conjuring up different colors for her character’s pangs of pity, hope and anger."
Corinna da Fonseca-Wollheim
The New York Times

Mikeldi Atxalandabaso


Mikeldi Atxalandabaso

Tenor


"...Ruodi was meltingly sung by Mikeldi Atxalandabaso, who might have made a fine Arnoldo himself. "
Eric Myers
Opera News

Stephan Loges


Stephan Loges

Bass-Baritone


"Stephan Loges was a menacing, dark-toned, anguished Golaud, making the violence credible, and he was heartbreaking in Act 5."
Peter Reed
Opera

Katherine Broderick


Katherine Broderick

Soprano


"The women struck me as uncommonly strong, especially Katherine Broderick, making her ENO debut as Anna. She possesses a very large soprano which admirably met the considerable demands of the part...she carried herself with dignity and maintained a consistent sense of character." (Don Giovanni)
Russ McDonald
Opera

Sabina  Puértolas


Sabina Puértolas

Soprano


"A cast dominated by the two schemers...Sabina Puértolas as a spry, seductive Despina"
Xavier Cester
Opera

Emma Bell


Emma Bell

Soprano


"That woman, Elisabeth, is played by Emma Bell and the British soprano rockets herself into the Wagnerian premier league with this performance. Her timbre has always been unique — imagine Kathleen Ferrier up an octave — but now Bell shows so much more: perfect intonation, tenderness, subtle variation, compelling acting."
Richard Morrison
The Times

Barrie Kosky


Barrie Kosky

Director


Carolyn Sampson


Carolyn Sampson

Soprano


“Carolyn Sampson, whose voice and presence are always recognisable no matter what her disguise, provides three blissful moments of transcendence. The first with her paean to sleep…the second her harvest to love…the third being a heart-stopping performance of ‘O, let me weep”.
Edward Seckerson
The Independent

Hilary Summers


Hilary Summers

Contralto


“Then there was the extraordinary Hilary Summers whose showing as Jocasta negotiated the near-impossible register switches and freakish excitement of her big number with great aplomb and clever musicianship.“
Edward Seckerson
The Arts Desk

Jeremy Ovenden


Jeremy Ovenden

Tenor


"...it’s a fiercely taxing selection...requiring by turns agility in florid passagework...smoothly sustained lyricism across a wide compass and...characterful articulation of detail. In technical terms, and particularly in his outstandingly idiomatic Italian enunciation, Ovenden proves a complete master of his chosen repertoire (Mozart)...I have only admiration."
Max Loppert
BBC Music