Heather Lowe
Non più mesta
La Cenerentola (Angelina), Composer: Rossini Recorded: 2019
Puppet, why so?
A Midsummer Night's Dream (Hermia) Composer: Britten Recorded: 2019
Il padre adorato
Idomeneo (Idamante) Composer: Mozart Recorded: 2019
Wie du warst
Der Rosenkavalier (Octavian) Composer: Richard Strauss Recorded: 2019
Mi Lusinga il dolce affetto
Alcina (Ruggiero), Composer: Handel Recorded: 2019
Cara speme
Giulio Cesare (Sesto), Composer: Handel Recorded: 2019

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Heather studied at the Royal Northern College of Music (under Barbara Robotham and Ann Taylor) and the National Opera Studio (under Susan Waters)‚ supported by Scottish Opera. She was a Finalist in the Maureen Lehane Competition‚ is a Samling Scholar‚ and a trained ballet and ballroom dancer. She is generously supported by Mr and Mrs Goddard‚ The Sybil Tutton award and Mr and Mrs Blumer and is grateful to be the recipient of a Richard Angas Memorial Award.

Recent and future engagements include Dido Dido and Aeneas and title role Orfeo (The Grange Festival), Angelina La Cenerentola (The Grange Festival and West Green House Opera), Rosina The Barber of Seville (Opera North and Welsh National Opera)‚ Hansel Hansel and Gretel and Phoebe The Yeomen of the Guard (ENO), Fox The Cunning Little Vixen, Cherubino The Marriage of Figaro‚ Sesto Giulio Cesare‚ Hansel‚ The Page Salome and Lel Snowmaiden (Opera North), Dorabella Cosi fan Tutte (Northern Ireland Opera and Dorset Opera)‚ Tisbe La Cenerentola (WNO and Opera Holland Park) and 2nd Nymph Rusalka Garsington.

Further engagements include Mrs Noye Noye’s Fludde (Nevill Holt)‚ Isolier Le Comte Ory (Chelsea Opera Group and Dorset Opera)‚ Apprentice Die Meistersinger von Nürnberg (Glyndebourne Festival)‚ Orfeo Orfeo ed Euridice‚ Penelope Il ritorno d’Ulisse in Patria (RNCM) and Fidalma The Secret Marriage (British Youth Opera), Hermia A Midsummer Night’s Dream‚ Sesto‚ 2nd Lady The Magic Flute and Zerlina Don Giovanni (National Opera Studio).

Phoebe, The Yeomen of the Guard, ENO

Heather Lowe’s rich mezzo is ideal for Phoebe, and she plays her with just the right degree of naïve sensuality. She’s also a dab hand at digging into the lyrics.

Limelight Magazine (November 2022)

Heather Lowe and John Malloy make up the unlikely romantic pairing of Phoebe Meryll and Tower gaoler Wilfred, both confident and characterful.

London Unattached (November 2022)

Heather Lowe, having to deal with distracting business from the start, leaves us in no doubt of Phoebe Meryll’s vivacity – no wonder Fairfax is attracted to her before his “bride” turns his attentions – and makes a good team with unwelcome suitor Wilfred Shadbolt

The Arts Desk (November 2022)

Heather Lowe makes something delightfully quirky of Phoebe

Telegraph (November 2022)

Lowe’s Phoebe and John Molloy as gaoler Wilfred Shadbolt provide some of the most humorous moments, which revolve around errors and exquisitely crafted deception.

The Upcoming (November 2022)

Heather Lowe, bursting with personality as Phoebe

The Observer (November 2022)

Heather Lowe delivers some beautiful singing as Phoebe

Opera Online (November 2022)

Heather Lowe’s feisty Phoebe and Anthony Gregory’s graceful Fairfax are unimprovable

iNews (November 2022)

Heather Lowe hugely expressive as Phoebe

The Article (November 2022)

Davies’s direction, in each case, rounded out the sharper comic edges of Gilbert’s characterisation, and nowhere more than in the pairing of Phoebe and Shadbolt – the secondary, comic romantic couple in the stock operetta set-up but here brought to the forefront of the action with playful, red-blooded and all-too-believable performances (both vocally and dramatically) from Heather Lowe and John Molloy.

Spectator (November 2022)

By contrast, Heather Lowe's Phoebe was very feisty, and you sensed her chafing against the yoke of propriety all the time, including the naughty flirting with her 'brother'. And she sparred delightfully with John Molloy's wonderfully cadaverous Wilfred Shadbolt.

Planet Hugill (November 2022)

Rosina, The Barber of Seville, Welsh National Opera

Heather Lowe’s Rosina impressed.
As Bartolo’s ward Rosina, Heather Lowe boasted the best possible diction, her clearly focused mezzo soprano well projected. It was Lowe’s pert and graceful presence that dominated the ensembles...

The Guardian (September 2021)

It has, especially, an adorable Rosina in Heather Lowe, a true mezzo soprano with beautifully focused chest-tones and a big range, a bright top and real bravura to go with a vivacious presence and good, detailed observation of character.

The Arts Desk (September 2021)

The mezzo-soprano Heather Lowe stands out by far, her clear, lively voice inviting hush whenever she sings. Her Rosina feels complete; she’s smart, quick-witted, determined, heartfelt. It’s easy to see how, in a beautiful blue dress, moving gracefully around the stage, she becomes the Countess in Mozart’s sequel.

The Times (September 2021)

Heather Lowe’s portrayal of her overflowed with emotion, swinging wildly between excitement and despair.

BachTrack (September 2021)

the saving grace of the show was undeniably Lowe, whose diction was impeccable and the vibrant tone of her mezzo-soprano register never failed to leave the audience enchanted as it floated over the stalls and right to the back of the upper circle. This was particularly prominent halfway through Act One, when Figaro encouraged Rosina to write a love letter to ‘Lindoro’, and Lowe managed to effortlessly guide Lester through their performance of the classic ‘Dunque io son’ duet in perfect harmony.

Redbrick (October 2021)

It benefits from what the cast bring to it, not least mezzo-soprano Heather Lowe as Rosina, very impressive vocally, in terms of range, precision and expressiveness alike. Her Rosina was pert and self-confident with a nice line in deceptiveness and a very believable determination to get her own way.

Seen and Heard (October 2021)

Cosi fan Tutte, Dorset Opera Festival

The nursing sisters, Fiordiligi and Dorabella were impeccably played by Samantha Clarke and Heather Lowe.
They – indeed the whole cast – acted as though they had been working and playing together all their lives.
But these two glorious young singers especially, gave an astonishingly fine account of their respective roles, their voices blending blissfully in their many duetting moments.

Daily Express (August 2021)

Samantha Clarke and Heather Lowe were particualrly well matched, both vocally and temperamentally, and their Act 2 duet weighed up the sisters' options enchantingly. Once again I was drawn by the ease with which Lowe brings a role to life. Her Dorabella held her ground in respect to her sterner sister with subtle authority. Matched by enviable technical security, Lowe's mezzo has an irresitible seductiveness in the lower register.

Opera Magazine (October 2021)

Angelina, La Cenerentola, The Grange Festival

Heather Lowe’s Cenerentola was a more than usually pensive heroine, so that her closing aria at her moment of forgiveness seemed especially apt; the nobility of her character was equalled by the pathos and accuracy of her singing, and she was ideally partnered by the genuine Rossini tenor of Nico Darmanin

Music OMH (June 2021)

The Marriage of Figaro, Opera North

Heather Lowe’s Cherubino was possibly the stand-out performance in this very strong cast; she has previously impressed as Sesto in the company’s Giulio Cesare, so her convincingly boyish, fervently sung page was not unexpected, but she brought to the role a quicksilver presence allied to more than usual vulnerability. Both arias were exceptionally well sung, and we look forward to hearing much more from this talented young mezzo.

MusicOMH (February 2020)

There are also standout performances from Heather Lowe as Cherubino...

The Stage (February 2020)

As Cherubino, mezzo Heather Lowe was a deliciously gangly moonstruck adolescent and a natural comic actor...

Bachtrack (February 2020)

And every appearance by Heather Lowe in the breeches role of Cherubino, delights. Her physical embodiment of a brash, hormonal youth is as convincing as her singing.

On: Yorkshire Magazine (February 2020)

Giulio Cesare, Opera North

Mezzo Heather Lowe was terrific in the trouser role of Sesto, with an impressively agile voice and considerable acting ability.

Bachtrack (September 2019)

Ms Lowe was a lanky, boyish Sesto whose determination and vulnerability were finely expressed in her singing.

MusicOMH (September 2019)

...Heather Lowe drew a fine picture of a young man adrift in a complex work.

Planet Hugill (September 2019)

Also outstanding in a fine cast of eight is Heather Lowe who sings the apprentice hero Sesto with superb attack and expressiveness.

The Reviews Hub (September 2019)

Mezzo Heather Lowe sounds ravishing as Sestro who avenges the death of his father, Pompeo.

Wharfedale Observer (September 2019)

The freshness and clarity of Heather Lowe’s voice suits the adolescent intensity of Sesto.

The Opera Critic (September 2019)

There was no doubting her son Sesto’s lust for vengeance in Heather Lowe’s fiery portrait.

Opera Magazine (December 2019)

La Cenerentola, West Green House Opera

Heather Lowe and Filipe Manu make a musically distinguished couple as Cinderella and Ramiro respectively: Lowe achieves a sense of vulnerability alongside an impressive grandeur later on...

Classical Source (July 2019)

Heather Lowe has sung one of the ugly sisters in Rossini's opera for Welsh National Opera and for Opera Holland Park so it was lovely to see her making the move up to the title role. She made a charming, and quite spirited, Angelina, combining fast-paced passage-work with some expressive detail. Her plea to her father to be allowed to go to the ball was profoundly moving, yet elsewhere Lowe allowed Rossini's busy vocal lines to express Angelina' sheer joy, culminating in a glorious account of her final aria.

Planet Hugill (July 2019)

...Heather Lowe as Angelina, Cinders herself. The range, subtlety and assurance of her singing is reflected in her acting and dancing, even as she emits cascades of semiquavers in her joyous closing rondo.

The Stage (July 2019)

Leading the young team, Heather Lowe made a wholly sympathetic Cinderella, no lily-livered personality here but a spirited young woman burdened by her lot without being entirely submissive to it. Vocally she was a joy to listen to, assured from her first folk-like ballad through to her enraptured final aria. On the way she combined an easy command of the role’s extended tessitura with a vocal agility that made room for plenty of expression no more so than her pleas to attend the prince’s ball. Hers was a voice that dispatched her multitudinous notes with an effortless facility, yet always placing technique at the service of the music.

Opera Today (July 2019)

The comedy was built around a heroine of substance – this Angelina showed some spirit from the start – leaving space for tension, sentiment and tightly choreographed knockabout...Heather Lowe, in the title role, produced cascades of semiquavers with apparent ease. ... her performance was exceptional for it assurance, subtlety and emotional range. She even led the cast in some funky dancing as she reveled in her final rondo.

Opera Magazine (October 2019)

Hansel and Gretel, English National Opera at Regent's Park Open Air Theatre

The singers’ words work well in an English translation by David Poutney, and come across clearly without surtitles, with the main vocal pairings strongly executed by Heather Lowe (Hansel)...

Theatre World (June 2019)

The singing, in English, is clear and audible throughout. Heather Lowe as Hansel and Elizabeth Karani as Gretel convince as brother and sister and as children.

London Theatre (June 2019)

Heather Lowe and Elizabeth Karani bring a youthful energy to the roles of Hansel and Gretel, bounding around the stage with glee.

West End Wilma (June 2019)

Heather Lowe and Elizabeth Karani in the title roles ... are frisky kids, dancing away their hunger pangs with the Floss...Star casting indeed.

Culture Whisper (June 2019)

We enjoy the sweetness that Heather Lowe and Elizabeth Karani share as the siblings. Lowe is incredibly playful as Hansel, and has the childlike physicality down to a tee.

Broadway World (June 2019)

Heather Lowe is a jovial Hansel, clearly emotionally close to his sister.

Lark Reviews (June 2019)

La Cenerentola‚ Welsh National Opera

These darker hues deepen her characterisation as inward‚ dreamy‚ even melancholy‚ in contrast with the fizz and glitter of her boisterous‚ preening siblings‚ Clorinda and Tisbe‚ sung with just the right degree of sugary‚ superficial giddiness by Aoife Miskelly and Heather Lowe.

BachTrack (October 2018)

As the not-so-ugly sisters‚ Aoife Miskelly and Heather Lowe provide excellent support‚ pulling faces‚ and being generally horrible through a veneer of respectability‚ all while singing very beautifully.

The Reviews Hub (October 2018)

The singers excel‚ the ugly trio of Clorinda (Aoife Miskelly)‚ Tisbe (Heather Lowe) and father Magnifico (Fabio Capitanucci) oozing vileness in garish consort.

The Stage (October 2018)

Idomeneo‚ Buxton Festival

In the trouser role of Idamante‚ Heather Lowe was forthright in her opening aria and duetted warming with Bottone’s Ilia at the close of Act 2.

Opera Magazine (September 2018)

The trouser role of Idamante was given a masculine yet sympathetic portrayal by rising star Heather Lowe...

Mark Ronan Theatre Reviews (July 2018)

Heather Lowe gave us a real sense of Idamante’s youth‚ this was a young man who had not yet been tried in the crucible. Lowe sang with light‚ flexible tone and great beauty of phrasing...

Planet Hugill (July 2018)

New was Heather Lowe in the travesty role of the son Idamante. She looked particularly well in her costume‚ acted well and sang with careful musicianship...

Seen & Heard International (July 2018)

Lowe’s Idamante’s hint of youthful swagger is matched by a warm‚ proud mezzo with a fine heroic ring – like Strauss’s Octavian grew up and knuckled down...

The Arts Desk (July 2018)

Salome‚ Opera North

...Heather Lowe’s Page‚ in red city-style braces‚ made a strong impression at his side.

Opera Magazine (June 2018)

Add a supporting cast of consistent strength‚ with notable contributions from Oliver Johnston as the doomed Narraboth and Heather Lowe as the Page of Herodias‚ and this powerful concert of Salome became immersive theatre of the mind’s eye.

What’s on Stage (April 2018)

Cosi fan Tutte‚ Northern Ireland Opera

It was left to Heather Lowe’s Dorabella and Kiandra Howarth’s fascinating‚ complex Fiordiligi to add the requisite splash of bitters to Thomas’s sweet-sour concoction‚ and to give voice to that most redemptive of Mozartian qualities‚ forgiveness.

Opera Magazine (March 2018)

The girls were really deserving of the production’s focus however‚ Kiandra Howarth impressing as Fiordiligi and Heather Lowe bringing that extra little characterisation to Dorabella with little interpolations‚ gasps and sighs fitted into the singing expression.

Opera Journal (November 2017)

Heather Lowe also did a very good job in the role of Dorabella and the character’s shift from resolute paragon of virtue to free and easy woman about town was captured well. Occasionally‚ I would have welcomed a little more projection and vocal colouring but some of the singing was excellent and her Act II aria was an absolute delight.

Seen and Heard International (November 2017)

Le Comte Ory‚ Dorset Opera

Heather Lowe brought the same ardour and warmth to the role of Iosolier‚ Ory’s lovesick page‚ as she did for Chelsea Opera Group last year‚ and turned out to be a dashing lover.

Opera Magazine (October 2017)

Isolier was sung by Heather Lowe‚ who sang the role in the COG performance mentioned above‚ and had the volume and vibrancy to do the role justice‚ showing a glimmering quality in her tone.

BachTrack (July 2017)

The Snow Maiden‚ Opera North

Heather Lowe brought refined and measured tone as well as an appropriately cocksure manner to Lel.

Opera Magazine (March 2017)

Lowe does capture the charm and easygoing nature of the part in her musical performance‚ however‚ particularly in the two ballads she sings.

Classical Source (February 2017)

The man she really fancies is Lel‚ a trouser role for a mezzo soprano excellently taken by another talented young singer‚ Heather Lowe.

Opera Now (February 2017)

Heather Lowe was a near ideal Lel‚ the shepherd boy whose on/off romancing of the Snow Maiden triggers the final crisis. Lel has a series of songs which form set pieces of the opera‚ with Heather Lowe singing with attractively flexible tone and great charm and personality. This latter was key‚ she looked and felt like a lively teenager with a convincing rangy physique du role‚ and a lively sense of how a young man behaves.

Planet Hugill (February 2017)

The role of Lel‚ a young and handsome youth who the girls all adore‚ is sung by Heather Lowe. She has a beautiful mezzo soprano voice‚ which does not seem at all out of place. With her short‚ blonde hair and masculine stride she is the epitome of an English pantomime’s principal boy. But she wrings every ounce of cheek and cockiness out of the part‚ until you eventually forget she is a girl.

On Magazine (January 2017)

Lel is a young village man over whom all the girls faun and swoon. Rimsky writes it as a trouser role and I do think Heather Lowe’s performance was one of the most effective operatic portrayals of a male by a woman that I’ve even seen. She managed to avoid that artificial strutting about and hands on hips that never really convinces.

Seen and Heard International (January 2017)

Lel‚ the trouser-role love interest engagingly portrayed by Heather Lowe‚ carries a smartphone.

The Observer (January 2017)

...just as Heather Lowe nicely caught the sunny bravado of the peasant lad Lel.

The Spectator (January 2017)

Heather Lowe perfectly suggests the laddish cockiness of village heartthrob Lel...

The Stage (January 2017)

...and a striking debut from Heather Lowe as the Cupid figure of Lel.

The Telegraph (January 2017)

...the spirited Heather Lowe as the androgynous glamour boy Lel...

The Times (January 2017)

Heather Lowe in the trouser role of the local Lothario‚ Lel‚ was tirelessly nimble‚ pleasingly reactive...

The York Press (January 2017)

La Cenerentola‚ Opera Holland Park

The two squabbling sisters are sung by Fleur de Bray and Heather Lowe‚ the latter in particular making a strong impression with her warm yet penetrating mezzo.

Classical Source (July 2016)

Fleur de Bray and Heather Lowe as Angelina’s demanding sisters Clorinda and Tisbe set the comic tone. Both were totally comfortable with the demands of the music and delighted the audience with their grotesque humour‚ creating much comic hilarity. Their coloratura was both accurate and firm of tone and I particularly loved the way they developed the comic pose into an art form.

Limelight (July 2016)

...Heather Lowe as the mezzo-sister Tisbe‚ providing a mellower portrayal but with no less narcissism‚ both sang beautifully. They made a marvellous trio with Jonathan Veira as their father...

Mark Ronan (July 2016)

As the ‘ugly’ sisters - who are in fact ‘beautiful’ of voice and visage‚ but certainly not of virtue and moral compass - soprano Fleur de Bray and mezzo-soprano Heather Lowe were excellent as Cinders’ stepsisters‚ Clorinda and Tisbe respectively.

Opera Today (July 2016)

Le Comte Ory‚ Chelsea Opera Group

Heather Lowe was spirited as the smitten page‚ Isolier‚ her high mezzo has plenty of punch. Lowe acted well in the ensembles‚ particularly the Act 2 trio in which Ory’s fortunes take a nosedive.

Opera Magazine (September 2016)

Heather Lowe was a sparky Isolier...

BachTrack (June 2016)

As Isolier‚ Heather Lowe impressed with her spinto-like high-mezzo voice‚ and allowed her contributions to ensembles to really register‚ particularly that which closes the first Act – which Rossini re-worked from Il viaggio a Reims. Her contribution to the trio that brings Ory to an end was super!

Classical Source (June 2016)

Fidalma‚ The Secret Marriage‚ British Youth Opera

Everyone’s singing is a delight... Heather Lowe‚ as a gin-soaked‚ chainsmoking Fidelma‚ thrums desperately with her misplaced passion.

BachTrack (September 2013)

It helps that three of the singers are accomplished farceurs – Heather Lowe’s commanding Fidalma...

The Independent (September 2013)

Penelope‚ Il ritorno d’Ulisse in patria‚ RNCM

Heather Lowe gave a stirring performance as the heartbroken but unforgotten wife‚ assuming the character of Penelope sensitively‚ with a dramatic sense of loss and regret.

BachTrack (December 2012)

04th February, 2023

Fox - The Cunning Little Vixen - Opera North

Grand Theatre, Leeds
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Grand Theatre, Leeds
17th February, 2023

Fox - The Cunning Little Vixen - Opera North

Grand Theatre, Leeds
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Fox - The Cunning Little Vixen - Opera North

Grand Theatre, Leeds
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Fox - The Cunning Little Vixen - Opera North

Grand Theatre, Leeds
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Fox - The Cunning Little Vixen - Opera North

Grand Theatre, Leeds
07th March, 2023

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The Lowry
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Fox - The Cunning Little Vixen - Opera North (Schools Matinee)

The Lowry
14th March, 2023

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Theatre Royal & Royal Concert Hall, Nottingham
15th March, 2023

Fox - The Cunning Little Vixen - Opera North (Schools Matinee)

Theatre Royal & Royal Concert Hall, Nottingham
21st March, 2023

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Theatre Royal, Newcastle
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Fox - The Cunning Little Vixen - Opera North (Schools Matinee)

Theatre Royal, Newcastle
29th March, 2023

Fox - The Cunning Little Vixen - Opera North (Schools Matinee)

Hull New Theatre
31st March, 2023

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Hull New Theatre
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Double Bill

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22nd June, 2023

Double Bill

28th June, 2023

Double Bill