Heather Shipp
Composer: Bizet. Other Artists: RTE Concert Orchestra 2012
Composer: Saint Saens Other Artists: RTE Concert Orchestra 2012
Nuits d’été (Op7)
Composer: Berlioz (arr Matthews) Other Artists: The Orchestra of the Swan (cond David Curtis) Credit: SOMMCD245 2009
Symphony Number 4
Composer: Mahler (arranged Steiand) Other Artists: The Orchestra of the Swan‚ (cond David Curtis) Credit: SOMMCD45 2009
Tom Jones/The Green Ribbon
Composer: Edward German Other Artists: David Russell Hulme Credit: Naxos 2008
Tom Jones/As All the Maids
Composer: Edward German Other Artists: David Russell Hulme/National Festival Orchestra Credit: Naxos 2009

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English Mezzo Soprano, Heather Shipp grew up in Cornwall before training at Trinity College of Music and then the National Opera Studio in London. She regularly performs on the operatic stage throughout Europe and world-wide. After her debut as Poppea at English National Opera, she went on to sing the roles of Girl 3 From Morning to Midnight, Flora La Traviata, Offred’s Double The Handmaid’s Tale and Fiona in the world premiere of Muhly’s Two Boys at ENO. She made her Royal Opera, Covent Garden debut as Wellgunde in Keith Warner’s Ring Cycle and continued there as Magdalene in Die Meistersinger von Nurnberg, Zaida Il Turco in Italia, mezzo soloist in Julian Grant’s Hot House and Gymnasiast Lulu, a role she recreated for Teatro Real, Madrid.

For Opera North, Leeds, she has sung the roles of Nancy in Albert Herring, Sorceress Dido and Aeneas Diana Devereaux Of Thee I Sing, Mad Margaret Ruddigore, Donna in the world premiere of Skin Deep (also for Royal Danish Opera, Copenhagen), 2nd Norn and Waltraute Gotterdamerung, Kabanicha Katya Kabanova, Mrs Grose The Turn of the Screw (also performed very recently for Opéra de Dijon) and the title role in Carmen. She has also sung the role of Carmen for English Touring Opera, Diva Opera and The International Music Festival in Bermuda. For Opera Holland Park, London she has sung the roles of Maddalena Rigoletto, a highly acclaimed Adalgisa in Norma, Amneris Aida, Bersi Andrea Chenier and Mrs Fox in The Cunning Mr Fox.

Further roles performed include Phoebe The Yeomen of the Guard for the BBC Proms in the Albert Hall, (and the Birmingham Symphony Orchestra, RTE orchestra Dublin and The Philharmonia at the South Bank), Ludmilla The Bartered Bride for Garsington Opera, Dame Carruthers The Yeomen of the Guard for The Grange Festival, Mrs Herring Albert Herring for the Buxton International Festival, Minskwoman in the Glyndebourne production of Flight in Adelaide, Australia, Tisbe La Cenerentola for Oper Frankfurt and Opera Zuid Maastricht, Herodias Salome and Flora La Traviata for Opera Northern Ireland, Eleanor in Roxanna Panufnik’s The Music Programme for Polish National Opera Warsaw and The Linbury, Covent Garden, April Showers in Playing Away, Moppet in Paul Bunyan and Donna Skin Deep for the International Festival in Bregenz, Lola Cavalleria Rusticana (Ho Chi Min City, Vietnam) and Berthe Blond Eckbert at the Linbury, Covent Garden.

A passionate recitalist, she has performed recital programmes for The Royal Opera, Psappha (Lieder eines Fahrenden Gesellen), The Buxton International Festival, The Park Lane Group in the Purcell Room and Opera North and as vocalist in Opera North’s Piazolla Tango. Her collaboration with conductor and composer Carl Davis has led to concert performances of cross-over and classical repertoire for the BBC’s Friday Night is Music Night, with the Malaysian Symphony Orchestra in Kuala Lumpur, the CBSO, Philharmonia, Royal Northern Sinfonia, RLPO and the Prague Symphony orchestra for the Last Night of the Prague Proms.

Recordings include the title role in Rutland Boughton’s The Queen of Cornwall (Dutton), Honour Tom Jones (Naxos) Mahler’s Fourth Symphony and Les Nuits d’Ete (Somm).

Future performances include Florence Pike Albert Herring at Opera North and Dame Hannah Ruddigore for Opera Holland Park.

Florence Pike - Albert Herring - Opera North

The badger stripe in her hair is such a nice detail. Heather Shipp is a sour-faced Florence Pike, her steely-grey hair in a tight bun, her voice conveying a stern disapproval of everything, really.

The Opera Critic (January 2024)

The other members of the self-appointed (or, rather, Billows-appointed) committee are perfectly differentiated: Heather Shipp as Florence Pike, Lady Billows’ representative on earth, with a baleful stare for lesser mortals.

The Reviews Hub (January 2024)

Heather Shipp made a trenchant Florence Pike, wonderfully vivid and certainly not suffering fools gladly, her 'country virgins' moment was priceless.

Planet Hugill (January 2024)

She’s delectably partnered by Heather Shipp’s warmly sung, campily censorious housekeeper Florence

The Guardian (January 2024)

Heather Shipp, on the other hand, as her housekeeper Florence Pike, is such an instinctive comedienne that she comes close to stealing the show with her self-important busybody-ing.

The Arts Desk (January 2024)

superbly bolstered by Heather Shipp’s Florence Pike, who was if anything even more waspish: a formidable duo.

Opera (April 2024)

Dame Hannah - Ruddigore - Opera Holland Park

Dame Hannah was sung by Heather Shipp‘s richness of sound and fulsome lower register made for a surprisingly moving penultimate number in the second half.

Opera Wire (August 2023)

Towards the close, Gadd’s Sir Roderic and Heather Shipp’s Dame Hannah (Rose’s aunt) share a lovely duet, ‘There grew a little flower’, unexpectedly reunited (and made more poignant by Gilbert, as the Dame would conventionally have been a cross-dressing role). This was a wonderful moment of tenderness. Forget the youngsters’ superficial romances; here was true love. If you weren’t moved by that, then you have no heart.

Opera Today (August 2023)

His subsequent reconciliation with Dame Hannah (Heather Shipp) brought together two strong characters. Shipp had impressed in Act One where she recounted the tale of the baronets of Ruddigore in a narrative that was engagingly compelling.

Planet Hugill (August 2023)

Heather Shipp provides a courtly depth to her role as Rose’s spinster aunt, astutely offsetting both the wild-eyed performance of Heather Lowe as Mad Margaret and the droll performance of Richard Suart’s Old Adam Goodheart.

The Reviews Hub (August 2023)

much of the singing was excellent. Dame Hannah, Heather Shipp’s warm mezzo, had all the Big Matron Energy the role demands...

The Guardian (August 2023)

the touching, if sentimental, duet between Sir Roderic and his spurned, but now reconciled fiancee, Dame Hannah (Heather Shipp getting her chance to shine late in the show) "There Grew A Little Flower".

Broadway World (August 2023)

There’s expert playing, too, from Richard Suart as Robin’s trusty retainer Old Adam Goodheart, while Heather Shipp relies on the bountiful generosity of the lower depths of her mezzo-soprano to bring sweep and panache to Dame Hannah.

The Stage (August 2023)

Heather Shipp finds both ballast and empathy in Dame Hannah, a much more sympathetic battle-axe part than Gilbert usually allows for. Her ‘eleven o’clock’ number with Stephen Gadd as Sir Dominic Murgatroyd, the pick of the ancestors, is as true highlight of the evening.

British Theatre (August 2023)

Heather Shipp as the feisty Dame Hannah and Richard Suart as the rambling Old Adam both seize their chances

The Times (August 2023)

The Turn of the Screw - Opera de Dijon

Heather Shipp dans le rôle de Mme Grose offre une voix de mezzo-soprano fine qui convient remarquablement au large éventail de situations émotionnelles et musicales de l'opus. Ses gammes dynamiques correspondent à son jeu subtil et à l'agilité vocale qui passe du parlando hyperactif à des moments de lyrisme bel canto.

Heather Shipp as Mrs. Grose offers a fine mezzo-soprano voice that is remarkably suited to the wide range of emotional and musical situations in the opus. Her dynamic ranges match her subtle playing and vocal agility that moves from hyperactive parlando to moments of bel canto lyricism.

Olyrix.com (March 2023)

The Yeomen of the Guard - The Grange Festival

Whilst there are elements of the typical Gilbert & Sullivan rampantly sexual elderly lady in Dame Carruthers, her two main solos are highly serious and Carruthers is very much the vocal embodiment of the ethos of the Tower. Heather Shipp made a fine Carruthers indeed, effortlessly playing older than her real age without a pronounced element of caricature. Both her Tower solos were finely done indeed, yet she showed a neat physical comedy as well in the ironic duet 'Rapture, Rapture' with Graeme Broadent's Sergeant Meryll spotlighting their two very different attitudes to the forthcoming nuptials.

Planet Hugill (July 2022)

But no less impressive are Nick Pritchard’s lyrically sung Fairfax, John Savournin’s business-like Sir Richard Cholmondeley, Graeme Broadbent’s priceless Sergeant Meryll, David Webb’s doughty Leonard Meryll and Heather Shipp’s un-put-downable Dame Carruthers.

The Stage (July 2022)

The characters around the Tower include Heather Shipp’s ripe Dame Carruthers, forever in love with Graeme Broadbent’s lugubrious Sergeant Meryll.

The Daily Telegraph (June 2022)

Graeme Broadbent, with his peerless bass, is luxury casting as Sergeant Meryll. No less so is Heather Shipp as Dame Carruthers, as her rich mezzo-soprano is complemented by a suitably haughty manner, and their performance of ‘Rapture, rapture’ brings the house down.

Music OMH (July 2022)

Heather Shipp - a dauntless Dame Carruthers

Opera Magazine (September 2022)

The Turn of the Screw, Opera North

Tynan (who is making her Opera North debut) dramatically and emotively portrays the role of The Governess along with Heather Shipp as Mrs Grose.

thereviewshub.com (February 2020)

but also by the lesbian attentions of (in this show) her pregnant, dead predecessor, Miss Jessel (Eleanor Dennis, in lustrous, otherworldly voice) and, from an even more startling direction, Heather Shipp’s stolid housekeeper, Mrs Grose.

The Times (February 2020)

Heather Shipp excels as the naive and over-burdened Mrs Grose, bringing to the role ample tones and a strong presence, her nerves calmed by a hip flask following the initial revelations about Quint.

Opera Today (February 2020)

Sarah Tynan is the ideal choice as The Governess, her slightly edgy voice and ability to suggest vulnerability never better shown, and Heather Shipp’s troubled Mrs Grose was her ideal foil.

musicomh.com (February 2020)

The Bartered Bride, Garsington Opera

Heather Shipp is an emotionally sensitive Ludmila...

Classical Source (June 2019)

Peter Savidge and Heather Shipp made finely drawn, intensely human portrayals out of Mařenka’s parents Krušina and Ludmilla respectively...

Opera Magazine (August 2019)

...and the cast is packed with experienced artists for the cameo roles of the parents (Peter Savidge, Heather Shipp...

The Sunday Times (June 2019)

Heather Shipp was excellent as Mařenka’s mother, Ludmila, especially in the closing moments when it became clear from whence her daughter’s own spiritedness had been borne.

Opera Today (June 2019)

Katya Kabanova‚ Opera North

An equally accomplished actrees‚ Heather Shipp was the stiff-necked Kabanicha‚ her mezzo at its iron-clad best‚ barely suppressing her anger as her family contorted themselves at her tyranny.

Opera Magazine (April 2019)

Around her‚ Opera North has gathered a typically characterful cast. Heather Shipp is properly monstrous as the censorious‚ possessive mother‚ Kabanicha‚ who is hypocritical enough to indulge‚ in private‚ the secret masochistic impulses of Stephen Richardson’s Dikoy.

The Times (February 2019)

In Katya Kabanova‚ Kabanicha is a hypocritical‚ self-centred harridan with no redeeming features. Heather Shipp was totally convincing in her interpretation: she made every member of the audience mentally shake their fists in fury at the inhumanity of the woman.

Bachtrack (February 2019)

La Traviata‚ English National Opera

Smaller roles were well cast‚ including Heather Shipp and Bozidar Smiljanic as a glamorous Flora and Marquis...

BachTrack (March 2018)

No apparent nerves among the rest of the cast‚ with Alan Opie an outstandingly natural Germont‚ Heather Shipp and Aled Hall outrageously theatrical as Flora and Gaston...

Mark Ronan (March 2018)

Heather Shipp made a strong impression as Flora‚ rising above some unflattering make-up in Act Two and managing to bring out a sense of care for Violetta despite the determinedly ’sexy tart’ depiction of the character.

Opera Today (March 2018)

Albert Herring‚ Buxton Festival

Musically the performance was of a very high standard: conductor Justin Doyle has done the piece before in one of Opera North’s interpretations and knows not only it but most of the cast extremely well‚ as a number of them are Opera North regulars. Yvonne Howard as the tweedy grande dame and moral crusader‚ Lady Billows‚ was magnificent‚ and Heather Shipp brought Mrs Glum to being Albert’s mum.

Manchester Theatre Awards (July 2017)

The whole cast did a terrific job:...and Heather Shipp giving a very fine Act II soliloquy as Albert’s mother Mrs Herring.

Mark Ronan (July 2017)

Albert’s mother’s worry as to his whereabouts and well being got good playing and singing from Heather Shipp with her Act II solo coming to mind.

Seen and Heard International (July 2017)

The Yeoman of the Guard‚ City of Birmingham Symphony Orchestra

Senior artistes such as Sir Thomas Allen (Sergeant Meryll) and Catherine Wyn-Rogers (a Hyacinth Bucket-like Dame Carruthers) headed a charmingly dedicated cast: ... Heather Shipp a hugely positive presence as Phoebe ...

Critics Circle (March 2017)

Der Ring des Nibelungen‚ Opera North

Heather Shipp’s urgent‚ vehement Waltraute impressed

BachTrack (July 2016)

Heather Shipp was an excellent Waltraute and this Ring Cycle was one of the very few to see the character played by the same person in Die Walküre and Götterdämmerung.

MusicOMH (July 2016)

One of the finest assumptions of the afternoon/night was Heather Shipp’s Waltraute‚ her Narration (“Höre mit Sinn”) finding the bull’s eye of Wagnerian concentration; later in the act‚ she actually sounded believably furious.

Opera Today (July 2016)

...the three glassy-eyed Norns (thrillingly sung by Fiona Kimm‚ Yvonne Howard‚ Lee Bisset‚ pictured right) searching for meaning somewhere above the Stalls...

The Arts Desk (July 2016)

Special mention must go to Heather Shipp who leapt to the rescue when Susan Bickley‚ due to sing Waltraute in Götterdämmerung‚ became indisposed at very little notice. Heather‚ having sung second Norn‚ changed costume and returned in the same act to render a very moving Waltraute.

Seen & Heard International (May 2016)

Aida‚ Opera Holland Park

Heather Shipp‚ whose Amneris was the only character of any interest...Shipp introduced the only human note‚ singing with great stillness art and emotion

Opera Now (October 2015)

Heather Shipp’s sensationally toxic Amneris‚ an aspect mercilessly exploited by the staging. Shipp’s baleful low register lacked variety‚ but within her comfort range she had formidable presence and she matched Jeffers in the emotional blast of their Act 2 confrontation‚ managing to gain our sympathy in the last act

Opera (September 2015)

In some ways the most interesting character in the opera is Amneris who experiences the most taxing dilemmas and whose inner life we glimpse more keenly than is the case of the other lead roles. She is the embodiment of the conflict between individual preference and duty to the state‚ and by the end the mouthpiece for what Verdi wants us in the audience to feel and think. After something of a slow start Heather Shipp brought these dimensions out powerfully in her strong stage persona and heroic yet plangent tone

British Theatre (July 2015)

Heather Shipp made an elegant and dramatically very effective Amneris‚ admirably human and not as nasty a piece of work as is sometimes portrayed

Mark Ronan (July 2015)

Heather Shipp stood out as a haughty super-bitch of an Amneris‚ with a scornful chest register to match...She and Peter Auty (Radamès) shone in their fiery Act IV confrontation

BachTrack (June 2015)

Heather Shipp as Amneris‚ whose vocal and dramatic presence is a standout...

Classical Source (June 2015)

Heather Shipp’s rich-bitch Amneris...Shipp is utterly compelling...

The Guardian (June 2015)

Heather Shipp hits the musical and dramatic heights as her rival‚ the Egyptian princess Amneris

The Stage (June 2015)

...the Alexis Colby-esque Amneris of Heather Shipp...there are performers here who are serious about Verdi...Shipp’s acidic Amneris skilfully uses the text to make her voice fit the role

The Times (June 2015)

Heather Shipp is excellent in the role‚ impassioned and committed...

What’s On Stage (June 2015)

Norma‚ Opera Holland Park

...it certainly boasts an excellent cast‚ which includes Gweneth-Ann Jeffers‚ Peter Auty‚ Graeme Broadbent and Heather Shipp. The latter in particular put in possibly the performance of a lifetime as Adalgisa in Norma here last year

MusicOMH (April 2015)

Salome‚ Northern Ireland Opera

Herod and Herodias were sharply etched by Michael Colvin and Heather Shipp

The Telegraph (February 2015)

Heather Shipp’s Herodias (in a pink jumpsuit straight out of Valley of the Dolls) lights up another cigarette and fumes...Musically this is another bold achievement by NI Opera...Shipp’s Herodias and Michael Colvin’s Herod were poisonously effective

The Times (February 2015)

Last Night of the Prague Proms

Jednalo se o sympatickou britskou mezzosopranistku Heather Shipp‚ dámu s vynikajícím klasickým peveckým školením‚ mající za sebou krome cetných hostování v britských a dánských operních domech i úspešná vystoupení v menších úlohách v Bergove Lulu a Wagnerových Mistrech pevcích norimberských v londýnské Covent Garden pod taktovkou Sira Antonia Pappana. Napjate jsem ocekával‚ jak si umelkyne s tímto životopisem poradí s prvním vokálním císlem programu‚ slavnou písní All That Jazz z Kanderova a Ebbova muzikálu Chicago. Výsledek me príjemne prekvapil: Shipp nasadila dokonale ležérní kabaretní styl‚ ve kterém nalezl stopy operní prupravy jen ten‚ kdo ho tam opravdu hledal. Broadwayský „showstopper“‚ proslavený Ute Lemper a ve filmu Catherine Zetou-Jones‚ prednesla zpevacka s hlasem atraktivní tmavé barvy a s profesionalitou‚ která koncert okamžite posunula do vyšších umeleckých pater‚ než by se dalo predpokládat.

Opera Plus (July 2014)

Heather Shipp pak dostala možnost presvedcit o dalších polohách svého talentu ve trech písních‚ které už dávno patrí mezi osvedcené hity. Nejprve dala zapomenout na zažitou interpretaci songu Can You Feel the Love Tonight ze Lvího krále v podání Eltona Johna. Prednesla baladu s patosem témer operním a ukázala tak obehranou písen ve zcela novém svetle. Podle mého názoru mnohem lépe než Renée Fleming si Shipp poradila s Cohenovým Hallelujah (zde dávaným do spojitosti s animovaným filmem Shrek). Zatímco americká superstar se pri její interpretaci spíše dojímá sama nad sebou‚ britská pevkyne zpívá písen s uveritelnou pokorou‚ což je myslím presne to‚ co autor Leonard Cohen zamýšlel… S publikem se Heather Shipp rozloucila oscarovou Skyfall ze stejnojmenné poslední bondovky a aplus‚ který si za tento hit zpevacky Adele vysloužila‚ byl zcela oprávnený. Nemám predstavu‚ kam se bude talent této chameleonské „presahové umelkyne“ ubírat dál‚ ale urcite stojí za to si její jméno do budoucna dobre zapamatovat.

Opera Plus (July 2014)

Norma‚ Opera Holland Park

She (Yvonne Howard) was well matched by Heather Shipp’s superb Adalgisa‚ the younger mezzo model who usurps Pollione’s affections. Shipp’s light‚ malleable mezzo complimented Howard’s voice in the magnificently sung duets‚ and her acting ably expressed Adalgisa’s impossible situation

Opera Magazine (September 2014)

It was lovely to hear a Norma where the roles of Norma and Adalgisa were very balanced‚ in terms of vocal quality. This gave a riveting sense to Adalgisa’s duets with Norma and I was very impressed with the stylish way that Heather Shipp handled the more complex bel canto passagework‚ and the flexibility that she had in her upper voice. This made Mira O Norma a complete joy‚ as the two voices intertwined and balanced each other. Elsewhere‚ Shipp made Adalgisa’s passion perfectly obvious and she was a strong third partner in the trio. Adalgisa can be role where you end up feeling irritated that the girl could be so foolish. But here Shipp managed to wring our hearts‚ and do so without ever going beyond the confines of Bellini’s vocal line. A very fine performance

Planet Hugill (August 2014)

(Yvonne) Howard was well matched by Heather Shipp’s attractive timbre as Adalgisa: their duets were intricately woven and Shipp showed herself more than capable of taking command of the stage at the appropriate moments...This production excels orchestrally‚ is well acted throughout and has fine vocal performances from its two female leads. All this makes it well worth seeing

BachTrack (July 2014)

I was more impressed by the girls’ powerful duets...It is certainly the female leads that take the honours. Yvonne Howard perhaps humanises Norma without ever letting rip‚ but with Heather Shipp’s touching naivety‚ they work together extremely well as the emotional thread of the opera

Classical Source (July 2014)

As Adalgisa‚ her rival but ultimately loyal friend‚ Heather Shipp is almost equally fluent and expressive‚ matching (Yvonne) Howard note for note in their great duets

The Guardian (July 2014)

Yvonne Howard was superb‚ and with Heather Shipp as Adalgisa these are performances not to be missed. Their duet towards the end of Act I when Adalgisa comes to high priestess Norma wanting to give up her vows of chastity for the love of a man was a glorious example of the emotional tug that bel canto singing can convey in the hands of a master like Bellini...what really counted were the wonderful performances of Heather Shipp as Adalgisa and Yvonne Howard as Norma

Mark Ronan (July 2014)

Yvonne Howard and Heather Shipp put in performances of a lifetime as Norma and Adalgisa respectively‚ and the scene in which the latter confesses her love for a Roman is stunning‚ thanks to the singing and some intelligent direction. The interactions between the pair are highly natural‚ but there are just enough occasions when they face out to the audience (usually at a slight angle) to enable us to focus on the music and engage with the characters’ innermost feelings...Shipp’s mezzo-soprano complements Howard’s own very well‚ and its beautiful roundness in itself encapsulates excellent enunciation‚ precision and resonance. Although some of the men get off to shakier starts‚ the fact that they seem to stand in the shadow of Howard and Shipp is more a reflection of the strength of that pair‚ rather than of any real weaknesses in their own performances

MusicOMH (July 2014)

Heather Shipp and Joseph Wolverton did an excellent job in the roles of Adalgisa and Pollione. Shipp did well in the duets at the end of the first Act – first with Wolverton and then with Howard – blending well with both performers and doing a splendid job with the composer’s vocal pyrotechnics

Seen & Heard International (July 2014)

Heather Shipp makes a sympathetic Adalgisa‚ caught between a rock and hard place‚ loyal to her sex and clan but fatally attracted to Pollione

The Telegraph (July 2014)

As Adalgisa‚ Norma’s apprentice in druidry but rival in romance‚ Heather Shipp offers plenty of smooth‚ stylish and well-produced singing

The Spectator (July 2014)

Heather Shipp as Adalgisa...impressive for her supple vocal richness and peaks of resounding power

The Stage (July 2014)

...Heather Shipp’s volatile‚ shame-faced Adalgisa

The Times (July 2014)

The evening’s revelation was Heather Shipp as Adalgisa. The young mezzo’s star has risen fast in recent times‚ and she confirmed her versatility by following up a terrific turn as Second Norn in Opera North’s Götterdämmerung‚ only last month‚ with this completely different role. What Shipp’s acting lacked in finesse it made up for in engagement‚ and vocally she matched Howard pace for pace in their magnificent duets

What’s On Stage (July 2014)

Götterdämmerung‚ Opera North

An extraordinarily strong company of solo singers took Götterdämmerung’s hellish lengths in its collective stride...The opera was framed by three terrific Norns at the start (Fiona Kimm‚ Heather Shipp‚ Lee Bisset)

What’s On Stage (June 2014)

Fiona Kimm‚ Heather Shipp and Lee Bisset as the Three Norns are nicely choreographed in the opening scene‚ their twisting movements mirroring their rope spinning

The Arts Desk (June 2014)

Stabat Mater (Rossini) Basingstoke Choral Society

I could easily run-out of superlatives in this review: the adjectives brilliant‚ wonderful‚ and fantastic come immediately to mind. I simply must heap unstinted praise on both choirs‚ Basingstoke Choral Society and the Croydon Philharmonic‚ the four soloists‚ and‚ of course‚ The New London Sinfonia under the leadership of its conductor‚ David Gibson... Heather Shipp (mezzo) was new to me; her rich‚ penetrating midrange reminded me so much of the great Cecelia Bartoli

Basingstoke Gazette (April 2014)

Dido and Aeneas‚ Opera North

Heather Shipp was a sinuous sorceress

Opera Magazine (April 2013)

... the Sorceress (Heather Shipp‚ excellent)

The Financial Times (February 2013)

Heather Shipp’s lissom Sorceress had echoes of her portrayal of Mad Margaret (nothing wrong in that) baring her teeth in a wolf-like grin that was quite alarming as she invokes her fellow enchantresses-Shipp moves around like a lynx and colours her agile and vibrant mezzo with malice.

Opera Britannia (February 2013)

Heather Shipp’s delightfully devilish Sorceress

The Stage (February 2013)

Heather Shipp is a sinuous Sorceress

York Press (February 2013)

The Yeomen of the Guard‚ Prom 49 Royal Albert Hall

As a singing actor‚ the stand-out performer was Heather Shipp (brought in as a replacement for Victoria Simmonds)‚ who brought the most edge and verve to her character of Phoebe

BachTrack (August 2012)

...the cast knew their work and put their routines over with panache. A natural stage animal‚ Heather Shipp brought a meaty mezzo to manipulative Phoebe

The Guardian (August 2012)

Phoebe – a highly positive performance from Heather Shipp – starts and ends in tears

Lark Reviews (August 2012)

...the assured Heather Shipp as the flirtatiously resourceful Phoebe Meryll

The Telegraph (August 2012)

Ruddigore‚ Opera North

In a first-class line-up of soloists‚ Heather Shipp sang and acted the odd part of Mad Margaret with gusto. Richard Burkhard’s Sir Despard Murgatroyd was outstanding

The Scotsman (June 2012)

Die Meistersinger von Nürnberg‚ Royal Opera House at Birmingham Symphony Hall

Heather Shipp as Magdalene more than held her own‚ demonstrating enough to show why Opera North chose her for their production of Carmen last year

Seen & Heard International (January 2012)

Heather Shipp’s full-voiced Magdalene was a notably positive foil

Opera (January 2012)

In some respects‚ this is a Meistersinger in which the greatest performances aren’t always in the central roles. Toby Spence and Heather Shipp are as good as it gets as David and Magdalene

The Guardian (December 2011)

...in conjunction with Heather Shipp’s feisty Magdalene —there was some unusually detailed and imaginative acting

Musical Criticism (December 2011)

Heather Shipp is also a fine Magdalene

MusicOMH (December 2011)

Heather Shipp offers a full-voiced Magdalene‚ not the usual second-string

The Stage (December 2011)

Ruddigore‚ Opera North

It might be invidious to single out performances from so cohesive an ensemble‚ but...Heather Shipp avoided every pitfall as Mad Margaret‚ whether in matters of taste or sentimentality - she also supplied the clearest diction in an evening in which old D’Oyly-Carte standards were not consistently met

Opera Magazine (December 2011)

The final scenes between Mad Margaret and Despard then Dame Hannah and Roderic were probably the strongest (‘Basingstoke!’ being the easiest to recall). Heather Shipp‘s Margaret stood out dramatically

Comprimario (November 2011)

The performances are tip-top‚ and of these I’d pick out Richard Burkhard as the bad‚ bad baronet (no one can swish a cape as he can) and Heather Shipp as the deliriously Mad Margaret

JildySauce.com (November 2011)

The strong cast includes a suitably dotty Heather Shipp as Mad Margaret

Northern Echo (November 2011)

With a cast as outstandingly as good as this‚ with all participants fully into their roles and singing and acting to near perfection‚ it is invidious to pick out individuals. But needs must. Heather Shipp’s zany Mad Margaret is also worthy of special mention as were the patter duets that surely owe something to Rossini

Seen & Heard International (November 2011)

Mad Margaret (Heather Shipp) has gone beyond that point after being jilted by Sir Despard Murgatroyd (Richard Burkhard). Shipp delivers a scene-stealing performance as someone who can only be restrained by the use of a code word. But it is the contrasting and moving relationship she forms with a suave and urbane Burkhard that adds heart to the show

The Public Reviews (November 2011)

Inevitably‚ it is the more extrovert characters that make the greatest impact: Heather Shipp’s superbly batty Mad Margaret

Classical Source (November 2011)

...the great set piece in the Haunted Picture Gallery is wonderfully inventive. Every one of the principals is pitch perfect but special mention must be made of Steven Page‚ as the ghostly Sir Roderic‚ Grant Doyle and Richard Burkhard‚ as his two wicked nephews‚ and Heather Shipp‚ as a vocally and physically fearless Mad Margaret. An unmitigated triumph!

The Express (November 2011)

Mad Margaret – she for whom the word "Basingstoke" is balm – displays excessive hysterical tendencies‚ formidably enacted by the excellent Heather Shipp

Observer on Sunday (November 2011)

The cast is impeccable‚ giving due and equal value to Gilbert’s words and Sullivan’s notes. Heather Shipp’s blissfully unruly Mad Margaret is partially tamed by Richard Burkhard’s suavely supercilious Sir Despard Murgatroyd. Steven Page is a mellifluous military martinet as Sir Roderic Murgatroyd. Indeed it is rare to see a production in which every member of the cast meets the highest standards and integrates so flawlessly into the overall dramatic momentum. Ruddigore used to be regarded as a poor relation amongst the Savoy canon‚ but here it comes over as a comic masterpiece

The Stage (November 2011)

...there’s a consummate moustachio-twirling turn from Richard Burkhard as Sir Despard Murgatroyd‚ and the Act II scene of his sober exchanges with the once jilted‚ now slightly less Mad Margaret (Heather Shipp) is a highlight

The Arts Desk (November 2011)

Richard Burkhard and Heather Shipp are perfectly cast as the bad‚ bad baronet and the witchy Mad Margaret. But it’s how they transform into middle-class married respectability in Act II that impresses‚ faultless in their singing and choreography. A brilliant satirical take on criminality by the rich and moral hypocrisy‚ that with only a few extra lines becomes also a contemporary political satire: fiddling expenses‚ duck-houses‚ Greek debt‚ not even the Speaker’s wife escapes. How the audience laughed

Leeds Student (October 2011)

Heather Shipp creates a beautifully studied and spidery portrayal of Mad Margaret‚ not really mad but just a smidgeon unhinged and slightly unsettling. We first encounter Margaret wheeling her worldly possessions in a pram before singing her dramatic and poignant "mad" scene "Cheerily carols the lark"

Opera Britannia (October 2011)

La Wally‚ Opera Holland Park

Heather Shipp’s warm mezzo-soprano and worldly-wise demeanour made her a compelling Afra

MusicOMH (August 2011)

Heather Shipp sang lyrically as Wally’s rival in love

The Times (August 2011)

Heather Shipp made a sympathetic character out of Afra‚ barmaid and Wally’s rival for Hagenbach’s heart

Opera Britannia (July 2011)

Two Boys‚ English National Opera

Lucas’s taut‚ witty libretto has one masterstroke – a mythic‚ amoral creature named Fiona‚ who represents the seductive spirit of the net...Heather Shipp a smart‚ sexy Fiona

Financial Times (June 2011)

Heather Shipp and her glassy-tones were mesmerising in the service of the mysterious internet intercessor Fiona

The Arts Desk (June 2011)

Boughton’s Queen of Cornwall‚ recroding on Dutton Epoch

Heather Shipp is excellent as his admirer Iseult‚ a mezzo in this version of the tale‚ singing with firm and glowing tone‚

Opera Magazine (March 2011)

Carmen‚ Opera North

an unusual Carmen‚ not overtly flirtatious. She was a free spirit‚ but thoughtful‚ which made her air of mystery the more attractive

Opera Magazine (March 2011)

Mahler Symphony No 4‚ Berlioz: Les Nuits d’Eté- CD- Orchestra of the Swann

with so many full-orchestral recordings of each work available‚ do we need to hear these reduced ones? Two good reasons are top-flight instrumental playing (you won’t hear much better anywhere)‚ and the spelllbinding vividness of Heather Shipp’s darkly gorgeous mezzo-soprano voice

Classic FM Magazine (June 2011)

Just another Mahler Four? Far from it: this is the chamber version (no brass‚ bassoon or harp but with piano and harmonium) which Erwin Stein devised for cash-strapped Vienna after the First World War‚ when Mahler’s music was still “modern” and needing to be heard. Woodwind obbligatos and string glissandos bring out the symphony’s gypsy soul in this spirited performance under David Curtis‚ but the CD’s value lies just as much in the chance to hear the lovely Heather Shipp singing Berlioz’s Les Nuits d’Eté‚ in a chamber version by David Matthews.

Financial Times (March 2011)

It’s not long since I reviewed a sensational new Mahler Four with Philippe Herreweghe and his Champs-Elysees Orchestra. Well‚ here’s another one‚ in a very different guise. This is the famous reduction of the symphony made in the early 1920s by Erwin Stein for Arnold Schoenberg’s Society for Private Musical Performances. It’s reduced for single strings and wind‚ piano‚ percussion and harmonium‚ as well as a mezzo for the sung finale. Sounds an oddball collection‚ but it works stunningly well‚ as exemplified in this enthralling live performance by David Curtis and his Orchestra Of The Swan‚ with mezzo Heather Shipp. The detail of Mahler’s already chamber-like orchestration gleams with a pure light‚ enhanced further by the coupling: David Matthews’s arrangement for small group of Berlioz’s Nuits d’ete. For Mahler addicts there is only one answer: get this one‚ get Herreweghe’s‚ stack them up beside your favourite full-fat version and indulge yourself‚ as I propose to do myself.

Glasgow Herald (March 2011)

SOMM continues its collaboration with Orchestra of the Swan under its charismatic conductor‚ David Curtis‚ with a live recording made in 2009 during the orchestras first concert season as resident chamber orchestra at Birminghams Town Hall. The CD contains a rarely recorded chamber version of Mahlers Fourth Symphony‚ originally arranged for Chamber Ensemble by Arnold Schoenbergs pupil Erwin Stein and reconstructed here by conductor Alexander Platt. Stein was a Viennese editor who went on to become Benjamin Brittens publisher. His reduction of Mahlers fourth symphony to a piece for solo voice and 12 players is remarkably effective and performed here brilliantly by the orchestra with acclaimed mezzo soprano Heather Shipp‚ who received rave reviews for her vibrantly sexy interpretation of Bizets Carmen. This is Mahler all right but probably as you have never heard before. The CD also features a premiere recording of Berliozs Nuits dÉté‚ attractively arranged for voice and Chamber Ensemble by composer David Matthews.

New Classics (March 2011)

Carmen‚ Opera North

Heather Shipp’s slim-and-sexy Carmen makes a powerful centrepiece...she gives the part her considerable all

Financial Times (January 2011)

Breasts and teeth bared‚ nose bloodied‚ her light voice stripped and twisted into a mocking‚ cooing delivery‚ Heather Shipp’s Carmen shivers and buckles with masochistic joy

Independent on Sunday (January 2011)

Heather Shipp’s highly physical Carmen has dark allure

Observer on Sunday (January 2011)

Heather Shipp has created the most complete Carmen‚ certainly in my experience. Independent‚ as free as a bird and yet thoughtful and touchingly ordinary‚ a sort of girl next door Carmen. Shipp is of slim build‚ not particularly tall and could easily merge into the background but of course never does. The voice has an attractive timbre‚ light and flexible; but with ample power to cut across the orchestra

Opera Britannia (January 2011)

Heather Shipp’s vibrant Carmen...Shipp is a wonderful actress‚ completely in thrall to Kramer’s conception of the piece...The love scene in Act Two sounds marvellous

The Arts Desk (January 2011)

Ruddigore‚ Opera North

There is excellent support from Hal Cazalet‚ Heather Shipp and Richard Angas

Financial Times (February 2010)

Jo Davies’ terrific new production for Opera North is strong on the work’s ambiguities...Heather Shipp’s Mad Margaret‚ wheeling the detritus of her life about in a pram‚ is the victim of a world only fractionally less crazed than she is. Wickedly funny yet unsettling‚ Shipp’s performance is typical of the evening as a whole

The Guardian (February 2010)

...we have young voices‚ pertly clipped spoken dialogue‚ ensembles of madrigalian precision...and a series of sparkling star turns from Amy Freston (Rose Maybud)‚ Grant Doyle (Sir Ruthven Murgatroyd)‚ Richard Burkhard (Sir Despard Murgatroyd)‚ Heather Shipp (Mad Margaret)‚Hal Cazalet (Richard Dauntless) and Steven Page (the late Sir Roderic Murgatroyd)

Independent on Sunday (February 2010)

Like all Opera North productions this is a collective effort‚ but I was particularly struck by Heather Shipp’s appropriately manic Mad Margaret

Morning Star (February 2010)

Heather Shipp is truly ingenious as Mad Margaret‚ especially riveting in act two

Opera (February 2010)

Mezzo-soprano Heather Shipp was a genuinely bizarre Mad Margaret…Ms Shipp possesses a rich and vibrant mezzo…heard to its best advantage in the slow section of her aria “To a garden full of posies” which was heartfelt and sung with a beautiful dark timbre

Opera Britannia (February 2010)

It’s a strong cast‚ too‚ from top to bottom... Heather Shipp’s crazed Mad Margaret eventually finds happiness and a sort of sanity

The Stage (February 2010)

The cast is top-notch...Heather Shipp has great fun as a tragedy queen of a Mad Margaret

The Telegraph (February 2010)

There are several finely drawn portraits...Heather Shipp is truly ingenious as Mad Margaret‚ especially riveting in act two

The York Press (February 2010)

Tom Jones‚ CD Naxos recording

Among the leads‚ soprano Marianne Hellgren Staykov and mezzo-soprano Heather Shipp are especially engaging and vocally outstanding

Allmusic.com (November 2009)

As Sophia’s maid‚ Honour‚ Heather Shipp is especially beguiling in her flirtatious song ‘As all the maids’

Classical Source (November 2009)

Heather Shipp as her maid‚ Honour‚ sounds delightful in The Green Ribbon

Infodad.com (November 2009)

Recording of the Month...Sophia’s maid is given as large a part as Sophia...Heather Shipp plays the role with the protective innocence that a servant might have for her mistress. In her two solo numbers‚ I found her very responsive to the situation‚ especially in a cheery rendering of ’The Green Ribbon’

Musicweb International (November 2009)

Recordings of the Year (Ian Lace)...soprano‚ Heather Shipp as Honour‚ Sophia’s maid‚ delights in the wry humour of this Act III song‚ ‘The Green Ribbon’

Musicweb International (November 2009)

Lulu‚ Teatro Real Madrid

Paul Gay et Heather Shipp sont parfaits dans ses deux rôles antithétiques‚ L’Athlète (aussi le Dompteur) et Le Lycéen

ConcertoNet.com (October 2009)

The British mezzo Heather Shipp also made a very good impression in her various roles

Seen & Heard International (October 2009)

Skin Deep‚ Opera North at Bregenz Festival

Janis Kelly as Lania and Heather Shipp as Donna are powerful sparring partners‚ singing some of Sawer’s most energetic rhythms with dramatic precision

The Times (August 2009)

Lulu, The Royal Opera House

Peter Rose’s Athlete‚ Will Hartmann’s Painter‚ Gwynne Howell’s Schigolch‚ Heather Shipp’s Schoolboy and Philip Langridge’s Prince are all excellent

Financial Times (June 2009)

Of Thee I Sing‚ Opera North at Sadler’s Wells Theatre

...as Diana Devereaux‚ Heather Shipp’s singing was highly engaging

MusicOHM (February 2009)

Skin Deep‚ Opera North

It has some strong performances amongst the principals‚ particularly the sturdily-voiced and grubbily-sinister Geoffrey Dolton as Needlemeier‚ and a quietly strong but ultimately pitiable Heather Shipp as Donna‚ the surgeon’s lover.

Musical Criticism (February 2009)

...the best performance came from Heather Shipp as his receptionist

Sunday Telegraph Magazine (February 2009)

...and there are excellent contributions from Janis Kelly and Heather Shipp

Financial Times (January 2009)

And there are spirited performances from... Heather Shipp as his foxy mistress

The Times (January 2009)

Of Thee I Sing‚ Opera North

Heather Shipp turns the beauty queen into a delicious dragonette

Financial Times (October 2008)

Heather Shipp vamps to good effect as Miss Devereaux

The Guardian (October 2008)

Strong performances from...Heather Shipp as the sexy Devereaux

The Stage (October 2008)

Heather Shipp vamps it up gamely as Diana Deveraux

The Telegraph (October 2008)

Heather Shipp’s gloriously pouty Diana Devereaux

The Times (October 2008)

Der Glorreiche Augenblick‚ Guildford Choral Society

and the mezzo-soprano Heather Shipp was able to shine in her fourth-movement cavatina with chorus‚ the emotional heart of the work‚

Sunday Telegraph (March 2008)

Bliss Pastoral‚ St John’s Smith Square.

Heather Shipp brought plenty of colour to her languid solo

Sunday Telegraph (November 2007)

Der Ring‚ Covent Garden

Some of the finest singing of the night came in the form of the translucent and intense Waltraute of Mihoko Fujimura. Rhinemaidens Sarah Fox‚ Heather Shipp and Sarah Castle not only sang with exquisite beauty‚ but also bravely whipped their kit off for the surprisingly non-gratuitous finale

Intermezzo (October 2007)

Carmen‚ Ellen Kent International

Shipp‚ a sensuous and petulant Carmen‚ has to compete with the usual Kent production appendages of a high-stepping black stallion horse‚ an authentic troupe of gypsy dancers and even on this occasion an Andalucian donkey (or at least one borrowed from a local animal sanctuary).

Her lyrical voice and sultry acting skills hold their own against all this theatrical showboating‚

The Stage (September 2007)

Rigoletto‚ Opera Holland Park

The quartet was completed by Heather Shipp’s sexy‚ warm-voiced Maddalena.

Opera Magazine (October 2006)

Il Turco in Italia‚ Royal Opera House

Heather Shipp makes a feisty Zaida.

The Guardian (June 2005)

Carmen‚ Diva Opera

Heather Shipp brought to the role of Carmen vitality and magnetism that made an immediate impact. She took her many fine vocal opportunities with splendid voice‚ making the demanding part seem easy and natural.

Guernsey Press (June 2002)

Albert Herring‚ Opera North

A strong performance from Heather Shipp (Sid’s girlfriend)

Metro (February 2002)

His girl‚ Nancy (Heather Shipp) had edge and flair.

Observer (February 2002)

Andrzej Panufnik ’Love Song and four other works’ London Musici (Recording)

Lusciously sung by Heather Shipp.

Sunday Times (February 2002)

Carmen‚ English Pocket Opera Company

Sensuous‚ graceful and possessor of a lyric mezzo soprano voice of great beauty‚ she is also a consummate actress.

Mid Ocean News (Bermuda) (February 2001)

Played by Heather Shipp‚ Carmen was sultry‚ sexy‚ bad tempered and hot-headed…You could feel the steam rise from the stage…sending tingles down your spine.

Royal Gazette (Bermuda) (February 2001)

The Music Programme‚ Opera Narodowa

...undoubtedly deserving of the greatest praise among the seven-strong international cast is Heather Shipp in the role of Eleanor - she combines a beautiful mezzo-soprano voice with excellent technique and talented acting into a convincing and expressive whole.

Gazeta Wyborcza (April 2000)


Queen of Cornwall, Rutland Boughton


Tom Jones, Edward German


Symphony No.4/Nuits dEté, Mahler/Berlioz

Signum Records

Love Song, Andrzej & Roxanna Panufnik


Love Abide, Roxanna Panufnik

Imp Classics

Carmen (Highlights), G Bizet