Maxine Robertson Management offers the highest standards of personal management to a hand-picked list of fine young and established singers and accompanists




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


Andrew Foster-Williams

Bass-Baritone


"Andrew Foster-Williams's Golaud is the centre of this production. Awkward, conventional, stiff with unexpressed emotion, hideously disappointed, shoe-horned into suspicion and grotesquely realistic domestic violence, he is as much, if not more, the victim. It's beautiful singing, impassioned, truthful - I found Foster-Williams the most moving Golaud I have heard."
Anna Picard
The Independent


Annalena Persson

Soprano


"As for Persson, everything about her suggests a Wagner singer to be reckoned with. She has an almost animal presence, vital and impetuous, and her voice has a luxurious velvet tone. In Persson, Isolde's awareness of her power of sexual healing was implicit, reflected in a glowing intensity of sound and sustained right through to her ultimate transfiguration."
Rian Evans
The Guardian


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


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


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


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


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


Gavan Ring

Baritone


"...a coruscating offstage performance by his cover Gavan Ring deservedly stole the show."
Michael Church
The Independent


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


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


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


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


Simon Lepper

Piano Accompanist


"Simon Lepper, whose prowess as a pianist is fused with a real sensitivity to words and to the voice, is a rarity indeed."
The Times


Stuart Jackson

Tenor


"...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


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


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


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


Stephan Loges

Bass-Baritone


"This distinguished bass-baritone, whose stage manner is sober and unshowy, colours his voice with effortless pinpoint precision, calibrating emotion in every note, every breath, every silence."
Fiona Maddocks
The Guardian


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


Emma Bell

Soprano


"…her great aria...Emma Bell sings that magnificently and in it shows us precisely who she is. Bell has the requisite mezzo colour for the role but also the big heroic top and I have heard few who so successfully negotiate the virile runs and tricky switches of register through such exemplary breath control."
Edward Seckerson
The Independent


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