“Patalong looks set for stardom”

it is Patalong in the title role whose resolute soprano impresses most.
She paces herself intelligently throughout the evening, leaving her voice with enough to spare for the demanding final scene.
At each stage of Manon’s development, Patalong explores the complex internal balance of a character torn between the pressing need for money and the longing for true love. Her finely accomplished interpretation represents a further stage in the trajectory of a career that looks set for stardom.

The Stage (July 2022)

the excellent and personable Anna Patalong as Manon showed considerable form in Puccini’s unique brand of vulnerability-withsubstance. She conveyed the headstrong Manon caught between passion and a more pragmatic need for money with great perception, surging into her two duets with Des Grieux, and transcending the awkwardness of the last act. For subtlety and drama, this was quite an achievement

Opera (October 2022)

while the cast is very strong. First among equals are Anna Patalong, who played Fiordiligi for Longborough Festival Opera earlier this summer, as Donna Anna, and Aoife Miskelly as Donna Elvira, with both performances feeling as heartfelt as they are undoubtedly accomplished.

musicomh.com (August 2021)

In her impassioned interpretation, Anna Patalong masters the vocal difficulties of Donna Anna.

The Stage (August 2021)

the wronged Donna Anna, singing very confidently, bound up in the anguish of unrequited love; a powerful contribution to the drama built on her pertinent acting reacting to the death of her father, the Commendatore.

Seen and heard International (August 2021)

Deeply considered performances from Anna Patalong...ignited the opera's conflicts and jeopardy

Opera Magazine (November 2021)

It is a strong cast all round, and the ensemble singing is extremely tight and pleasing. As Fiordiligi, Anna Patalong’s beautiful soprano makes all of her utterances seem particularly heartfelt

Music OMH (July 2021)

Anna Patalong exudes a more controlled, tonal richness, rising to the occasion for gripping accounts of ‘Come scoglio’ and ‘Per pietà’ – those moments in the opera where satire and revelry seem explicitly to stop and Mozart stabs the listener with his disarming call to compassion and identification with the character’s emotional ordeal.

Classical Source (July 2021)

Anna Patalong's Fiordiligi surely did protest too much, in a stunning display of indignation-cum-invitation in 'Come Scoglio'

Opera Magazine (September 2021)

Anna Patalong gives a memorable portrayal of Miss Julie. Alwyn gave his soprano some of the plum moments in the score and Ms Patalong never fails to deliver. Her singing of the big Act I solo, ‘If you want to climb’ does full justice to Alwyn’s passionate music and towards the end of that Act she joins with Nelson in an ecstatic dream of what life in Lugano could be like. But if anything, her achievement - and Alwyn’s achievement in terms of musical character development – is even greater in Act II. Here we learn the tragic story of Julie’s mother, related by Anna Patalong in such a way that our sympathies are fully engaged. We also see the naivety of Julie. You might well say that she’s been naïve from the start but nowhere is this aspect of her character better illustrated than when she seeks to enlist Kristin to come along with her and Jean, offering her the post of cook in the Lugano hotel – where she proposes to swan around as the hostess! At the end of the opera she’s pathetically but movingly grateful to Jean for suggesting that she follow her mother’s example and escape her situation by taking her own life. Anna Patalong is dramatically convincing as every strand of Julie’s character is revealed and her singing per se is vivid, communicative and often very beautiful. This performance is a triumph for her.

Music Web International (September 2020)

Another aspect of the project which seems long overdue is the recording debut of the magnetic British soprano Anna Patalong, who sings the title-role with a compelling combination of hauteur, wild sensuality and nervy fragility which put me in mind of Gillian Anderson’s Blanche in the National Theatre’s recently-streamed performance of A Streetcar Named Desire. (Indeed the hothouse atmosphere and the central relationship between a damaged, genteel fantasist and a charismatic but callous self-made man is common to both works, and it would be wonderful to hear the two principal singers here in André Previn’s opera on Streetcar). Hers is a big, glossy, full lyric soprano with plenty of fire on the many exposed top notes which Alwyn demands of his heroine, and she floats Julie’s delicate but sexually-charged paean to Midsummer Eve in Act One quite exquisitely.

Presto Classical (July 2020)

Anna Patalong incarne Miss Julie d’un soprano voluptueux qui semble ne jamais éprouver les limites d’une tessiture tendue « Elle attaque sa partie avec verve et des notes de tête aux reflets satinés, s’immerge dans les harmonies luxuriantes qu’Alwyn déploie ici, pour séduire complètement Jean.
Anna Patalong plays Miss Julie, a voluptuous soprano who never seems to feel the limits of a tense range. “She attacks her part with verve and satiny top notes, immersing herself in the lush harmonies that Alwyn deploys here , to completely seduce Jean.

Forum Opera (November 2020)

Anna Patalong was mesmerising in that title role, her voice and mannerisms perfectly suggesting a fragile, aristocratic haughtiness concealing a hollow of self-destructive insecurity.

The Times (October 2019)

Anna Patalong led a very fine quartet of singers as Miss Julie, playing up to the femme fatale in a scarlet dress with a voluptuous soprano to match. She attacked the music with verve, top notes with a satin sheen when fantasising about escaping to Lugano – what lush harmonies Alwyn paints here – to completely win Jean over.

Bachtrack (October 2019)

Anna Patalong, however, stood as the first among equals as she precisely captured the way in which Miss Julie enjoyed asserting the power that came with her position, even as she showed her desire to fall from it. In Act II, her despair could manifesto itself in vibrato that fluttered in a way that suggested the character’s own feelings of weakness. It may seem far-fetched that such a character would actually choose to commit suicide, and, as such, the measure of a good portrayal of Miss Julie is the extent to which we are really made to feel that no other option was left open to her, and Patalong certainly succeeded in engaging us to that extent.

MusicOMH (October 2019)

Anna Patalong was Julie, nailing her character’s dangerously unhinged brittleness from the start...

The Guardian (October 2019)

In the central roles Anna Patalong and Benedict Nelson not only communicated compelling characterisations but also created a strong awareness of the ‘roles’ that their characters were playing. This was especially true of Patalong, whose psychological schisms were laid painfully bare: at times she was the disdainful mistress, elsewhere the aggressive seductress, and then the helpless victim. Patalong’s glossy soprano captured Julie’s snobbish insecurities, her unstable sensuality and her desperate escapism, in a striking study of emotional collapse.

Seen & Heard International (October 2019)

...with a top quartet of soloists led by Anna Patalong, sensational, strong and vulnerable in the title role.

The Observer (October 2019)

The soprano Anna Patalong gave an immaculate performance as the spoilt-brat aristocrat who dallies with her daddy’s valet...

Opera Magazine (December 2019)

All the singers achieved remarkably strong‚ detailed and (mostly) audible performances. Hayward’s sift-grained bass darkened with pent-up desire for Patalong’s warmly sensual Nedda.

Opera Magazine (October 2018)

A lively children’s parade moved everyone round to a pivotal scene on a 10-foot high scaffold platform behind the lorry‚ where Nedda (Patalong) rejected Tonio and planned her elopement in a passionate heart-stopping duet with Samuel Dale-Johnson as her lover‚ Silvio‚ as conductor Stratford wrought every ounce of emotion from his players.

Bachtrack (July 2018)

His duet with Patalong‚ as the characters planned their elopement‚ was charged with a real‚ raw emotion as they honestly illuminated the all too human issues of forbidden lust and illicit thrills.

The Arts Desk (July 2018)

There’s a real sense of danger to his unwanted advances towards Nedda‚ given an edgy telling by Anna Patalong. Nedda’s flirtation with Samuel Dale Johnson’s Silvio is a vocal triumph...

The Stage (July 2018)

Anna Patalong‚ who replaced the advertised Violetta‚ Paula Sides‚ was a perfect fit for Evan’s ‘Hollywood diva’ concept. She has a powerful‚ dark-hued soprano... when she ripped off her heavy Versailles costume to sing ‘E stano’ in her petticoat‚ she sounded magnificent.

Opera Magazine (September 2018)

Anna Patalong is a truly superb Violetta‚her fluid‚lyrical soprano both musically glorious&a true dramatic instrument....skilful acting channels Sophia Loren with a cocktail of sex appeal and raw vulnerability‚ capable of both enraged hysteria and remarkable stillness.

Bachtrack (June 2018)

...she wrung heats with the intensity of her singing in Acts 4 and 5. The final trio with Fause and Méphistophéles made the spine tingle‚ and Patalong’s voice spoke of a radiant salvation as Marguerite’s soul ascended to heaven.

Opera Magazine (October 2017)

Anna Patalong as Marguerite is delicate and heart-touching.

The Express (August 2017)

Anna Patalong impressed last year as Tatyana in Eugene Onegin; as Marguerite‚ the characteristic expansive phrasing was there‚ and there was a lovely trill to the voice‚ but it was only towards the end of the third act that she really seemed to inhabit the character‚ and from the fourth act‚ when she projected the chill caused by Méphistophélès through to the fifth with her madness and subsequent redemption‚ her performance took off.

Bachtrack (July 2017)

...she wrung heats with the intensity of her singing in Acts 4 and 5. The final trio with Fause and Méphistophéles made the spine tingle‚ and Patalong’s voice spoke of a radiant salvation as Marguerite’s soul ascended to heaven.

Opera Magazine (October 2017)

Anna Patalong as Marguerite is delicate and heart-touching.

The Express (August 2017)

Anna Patalong impressed last year as Tatyana in Eugene Onegin; as Marguerite‚ the characteristic expansive phrasing was there‚ and there was a lovely trill to the voice‚ but it was only towards the end of the third act that she really seemed to inhabit the character‚ and from the fourth act‚ when she projected the chill caused by Méphistophélès through to the fifth with her madness and subsequent redemption‚ her performance took off.

Bachtrack (July 2017)

Avec son soprano caressant bien posé‚ Anna Patalong est une Mimi attachante sans aucune mièvrerie à la fois ardente et fragile./// With her beautifully placed and caressing voice Anna Patalong Mimi is endearing without being over sentimental- sometimes fierce‚ sometimes fragile.

Forum Opera (June 2017)

Avec beaucoup de sensibilité et de rigueur musicale‚ la soprano britannique Anna Patalong incarne d’emblée l’héroïne timide et fragile du livret. Son « Mi chiamano Mimi » trahit une attendrissante pudeur‚ mais aussi une insatiable soif de vivre‚ et le « Donde lieta usci » se mouille des larmes de la jeune femme qui voit se démanteler le plus beau des rêves‚ et qui doit accepter sa destinée avec résignation.///With great sensitivity and musical rigor‚ the British soprano Anna Patalong immediately embodies the timid and fragile heroine of the libretto. Her "Mi chiamano Mimi" betrays a tender modesty‚ but also an insatiable thirst for life‚ and the "Donde lieta usci" gets wet from the tears of the young woman who sees dismantling the most beautiful of dreams‚ and who must accept his destiny With resignation.

Opera Online (June 2017)

Au troisième tableau‚ lorsqu’elle surprend l’échange entre Rodolfo et Marcello évoquant sa propre condamnation‚ l’expressivité de sa plainte perce discrètement le dialogue‚ annonçant l’authenticité bouleversante de son agonie dans les bras de son amant. En raison d’une palette de couleurs infinie‚ c’est un rôle qui se travaille encore et encore. La jeune soprano détient les principales clés pour atteindre une prestation de haute qualité à travers une fragilité qui lui fait encore défaut.
Mais dans La Bohème‚ c’est l’alchimie entre les différents protagonistes qui assure le succès d’une production‚ quelle qu’elle soit. Voilà la force d’Anna Patalong et d’Alessandro Liberatore !
///
In the third act‚ when she overhears the exchange between Rodolfo and Marcello evoking her own condemnation‚ the expressiveness of her complaint discreetly pierces the dialogue‚ announcing the overwhelming authenticity of her agony in her lover’s arms. Due to an infinite palette of colours‚ it’s a role that works over and over again. The young soprano holds the key to reach a high quality performance through a fragility that is still lacking.
But in La Bohème‚ it is the alchemy between the different protagonists that ensures the success of any production. This is the strength of Anna Patalong and Alessandro Liberatore!

ResMusica (June 2017)

Making her role debut‚ Anna Patalong sang a gorgeous Tatyana‚ emotionally truthful‚ crowned by a heartfelt Letter Scene in which her veiled pianissimo was especially telling when she wonders if Onegin is her guardian angel. She visibly crumbled during Onegin’s rejection and seemed like a frightened rabbit when forced to dance with him at her name day party.

Opera Magazine (October 2016)

Patalong’s letter scene‚ where Tatyana ill-advisedly reveals her love for Onegin‚ was heart-wrenching.

The Express (August 2016)

A terrific cast...Anna Patalong as a serious‚ intelligent‚ responsive Tatyana‚ compelling in voice and stage presence.

The Guardian / The Observer (August 2016)

Anna Patalong‚ as Tatyana‚ was thrilling and moving throughout‚ with a beautifully warm timbre and a dramatic gift to match.

The Spectator (August 2016)

Each of the six principals made a distinctive impression‚ above all vocally. Anna Patalong’s voice has gained substance while retaining its lyric charm‚ and she made a rich-toned‚ life-affirming Mimi.

Opera Magazine (August 2016)

Anna Patalong sang Tatyana in long‚ velvet phrases with a thrilling‚ powerful higher register full of anguish.

Bachtrack (July 2016)

Anna Patalong is spellbinding as that woman‚ the central character of Tatyana...

Bournemouth Echo (July 2016)

Outstanding was Anna Patalong‚ who made an enchanting Tatyana‚ warm-toned‚ shy yet ardent‚ glowing through the passion of the Letter Scene yet tender and vulnerable too‚ and nicely balanced against Tamara Gura’s ebullient Olga.

The Telegraph (July 2016)

Patalong sang a gorgeous Mimì‚ her creamy soprano flecked with luscious‚ dark tone. Long phrases caressed “Sì‚ mi chiamano Mim씂 claiming the sun’s first kiss of April gloriously. “D’onde lieta uscì” was exquisitely tender as she leaves Rodolfo to return to her little nest.

Bachtrack (June 2016)

Having a young cast of such considerable theatrical ability helps. Rarely has the sexual attraction between Mimì and Rodolfo seemed so evident. Anna Patalong offers a beautifully sung‚ clearly heartfelt performance.

Boulezian (June 2016)

The principal roles benefit from having fresh young voices. At the centre of the action is Anna Patalong’s exquisitely sung Mimi; not a pallid waif but a real flesh and blood character with a great heart‚ and Patalong knows how to deliver the text as well.

Classical Source (June 2016)

Anna Patalong‚ meanwhile‚ charts Mimì’s death (the opera’s raison d’être) with vocal warmth

Evening Standard (June 2016)

Anna Patalong reveals a pleasing combination of purity and colour as she renders Mimì’s lines with sensitivity and precision

MusicOMH (June 2016)

Anna Patalong and Shaun Dixon both did a terrific job in the principal roles of Mimi and Rodolfo. Patalong’s captured the ardour and fragility of Mimi to perfection. She has a sumptuous‚ richly coloured voice and she brought out the dark timbres of the vocal line in a striking way. There was some gorgeous shaping of the line in Si mi chiamano Mimi while Act 3’s Donde lieta usci was exquisitely tender

Seen & Heard International (June 2016)

Because it’s really all about the voices here. Soprano Anna Patalong makes a delicious Mimì. There are no sharp edges on a voice that pours itself generously into every phrase‚ and a lovely darkness to the tone colouring that suit her unusually sober‚ serious heroine.

The Arts Desk (June 2016)

Patalong sounds utterly gorgeous

The Guardian (June 2016)

Anna Patalong’s touching‚ liquid-voiced Mimi‚ Shaun Dixon’s vocally and physically dynamic Rodolfo‚ Elin Pritchard’s personality-girl Musetta and Andrew Finden’s thoughtful Marcello make a formidable central quartet.

The Stage (June 2016)

it stars two young sopranos‚ Anna Patalong and Elin Pritchard‚ who are quite the crème de la crème. Small wonder it’s a triumph...Patalong breaks your heart. She’s a paragon of soprano sweetness and the vulnerability of her immortal aria "Si‚ mi chiamano Mimì" will crease you in two.

What's On Stage (June 2016)

Anna Patalong’s Liu was the best sung‚ most rounded (and‚ it should be said‚ only emotion-inducing) performance of the evening

Opera Magazine (January 2016)

More consistently appealing was Anna Patalong’s lightly nuanced soprano voice as Liù

Bachtrack (November 2015)

...there were moments from the leading soloists which were memorable —especially perhaps Anna Patalong as Liu in her final aria

Belfast Telegraph (November 2015)

Anna Patalong makes a touchingly sensitive Liù

The Guardian (November 2015)

Musically‚ it was given a highly creditable performance by artists who gave absolutely everything of themselves to provide an overwhelming theatrical experience...Anna Patalong was a superb Liù who would certainly be at home in any major lyric theatre. The sound is elegant and velvety‚ absolutely even throughout the range‚ and she floated the end of "signore ascolta" wonderfully

Opera Traveller (November 2015)

Anna Patalong an impassioned Liù

Opera Journal (November 2015)

Only Anna Patalong’s ardent‚ gleaming Liù is presented as a sympathetic figure

The Spectator (November 2015)

...radiantly sung...

Sunday Times (November 2015)

Anna Patalong’s Liu warmed up to offer a sweet “Tu che di gel” before topping herself

The Telegraph (November 2015)

Anna Patalong as Liu created a rare lyrical and expressive high point in her Act II aria

The Stage (November 2015)

Let’s award stars to NI Opera’s superb chorus — both adults and children — and‚ particularly‚ to Anna Patalong’s meltingly sung Liu‚ the flutter of compassion in a queasy evening

The Times (November 2015)

Anna Patalong‚ Dorottya Lang and Jurgita Adamonyte well matched as the Rhinemaidens

Opera Magazine (January 2016)

...les trois filles du Rhin‚ Anna Patalong‚ Dorottya Láng et Jurgita Adamonyte‚ sont toutes trois jeunes‚ charnelles et enjôleuses car elles ont une profondeur vocale sensuelle et présente /// ...The three Rheinmaidens Anna Patalong ‚ Dorottya Láng and Jurgita Adamonyte are all young‚ carnal and seductive‚ with a vocal depth that is sensual and present

Formalhaut (September 2015)

Anna Patalong als Woglinde‚ Dorottya Láng als Wellgunde und Jurgita Adamonyté als Floßhilde sind drei sittsam gekleidete‚ klangschöne Rheintöchter /// Anna Patalong as Woglinde‚ Dorottya Láng as Wellgunde and Jurgita Adamonyté as Floßhilde are three demurely dressed‚ beautiful sounding Rhine Maidens

Magazin Klassik.com (September 2015)

Anna Patalong‚ Dorottya Láng und Jurgita Adamonyte gefallen als Rheintöchter mit harmonischem Dreiklang /// Anna Patalong‚ Dorottya Láng and Jurgita Adamonyte were a harmonious trio of Rhine Maidens

Online Musik Magazin.de (September 2015)

As Lauretta‚ Anna Patalong doesn’t get much to do (she’s exiled to the terrace feeding an already overfed pet bird for most of the proceedings)‚ but she gets the outstanding aria of the evening‚ “O mio babbino caro”. It may be only a short aria‚ but she gave us two minutes of romantic operatic bliss

Bachtrack (June 2015)

Anna Patalong seized her two-minute moment of glory with a ravishingly sung “O mio babbino caro”

Classical Source (June 2015)

...solid ensemble work from the entire company‚ with Richard Burkhard delivering a confident Schicchi and Anna Patalong seizing her lyrical moment with his daughter Lauretta’s famous aria

The Guardian (June 2015)

...fine performances from the whole cast made it a joy to watch…Lauretta was beautifully sung by Anna Patalong‚ who launched into that glorious aria “O mio babbino caro” very naturally as she reached out to stop her father leaving (Ms Patalong will be heard later this month in the role of Suor Angelica)

Mark Ronan (June 2015)

Anna Patalong as Lauretta gives a moving rendition of ‘O mio babbino caro’ as her beautifully soaring voice combines with immaculate phrasing

MusicOMH (June 2015)

The role of Lauretta‚ Gianni Schicchi’s daughter‚ seems a thankless one to me. Apart from a few lines‚ she has to sing one of the operas best known and most loved arias‚ even by those who are not opera afficianados. Talk about a hiding to nothing. Undaunted‚ the young soprano‚ Anna Patalong‚ delivered a golden "O mio babbino caro"‚ and is clearly one to watch for the future

Opera Britannia (June 2015)

Anna Patalong’s beautifully sung Lauretta headed a cast of true depth in that final instalment

Opera Today (June 2015)

As his daughter‚ Lauretta‚ Anna Patalong was a complete delight with just the right amount of charm without being too winsome. "O mio babbino caro" was not only beautifully sung‚ but was incredibly funny in the way she completely stopped the action. And her duet with James Edwards brought the evening to a lovely conclusion

Planet Hugill (June 2015)

Anna Patalong was strong as Schicchi’s Lauretta‚ fittingly gushing without overdoing the mawkishness. ‘O mio babbino caro’ brought the mad-cap mayhem to a standstill in a way which was both surreal and totally entrancing. Patalong’s bright‚ pure lyric soprano interjected a moment of pure romantic rapture; it seemed to belong to another world

Seen & Heard International (June 2015)

Anna Patalong as Schicchi’s daughter Lauretta sings “O mio babbino caro” charmingly

Sunday Express (June 2015)

Anna Patalong reprises her sweet-toned Lauretta

The Stage (June 2015)

Anna Patalong’s Lauretta soars through "O mio babbino"

The Times (June 2015)

...an irresistible Anna Patalong as Lauretta‚ reprising her tender account of "O mio babbino caro"

What's On Stage (June 2015)

Heureusement‚ Anna Patalong‚ ravissante et pétillante‚ est très satisfaisante‚ prêtant à Ännchen une voix certes lumineuse‚ mais au métal robuste‚ loin des soubrettes qu’on distribue dans ce rôle. A elle seule‚ la soprano britannique illumine ce ténébreux Freischütz‚ dont l’indéniable impact est atténué par de multiples petites faiblesses /// Fortunately‚ Anna Patalong‚ delightful and sparkling‚ is highly satisfactory‚ lending to Ännchen certainly a bright voice‚ but with a sturdy metal‚ far from the soubrettes usually cast in this role. One her own‚ the British soprano brightens this dark Freischütz‚ whose undeniable impact is mitigated by numerous small weaknesses

Opéra Magazine (May 2015)

Anna Patalong‚ excelle dans le rôle d’Ännchen‚ sublimant chaque air grâce à son timbre plein /// Anna Patalong excels in the role of Ännchen‚ each aria sublime thanks to her full timbre

EspiritMusique.fr (March 2015)

Anna Patalong est l’un des meilleurs éléments de la distribution vocale‚ avec un timbre plein et charnu /// Anna Patalong is one of the best vocal elements of the cast‚ with a clear rich timbre

Forum Opera (March 2015)

Anna Patalong (Ännchen) charme par un timbre frais‚ lumineux et charnu // Anna Patalong (Ännchen) charm with a fresh tone‚ sparkling and rich

ODB-Opera (March 2015)

...la délicieuse Ännchen d’Anna Patalong‚ au timbre plus corsé que celui de sa soeur// ...the delicious Ännchen Anna Patalong‚ a fuller bodied tone than her sister

ResMusica (March 2015)

...zwei herausragende Gäste: Die Britin Anna Patalong als Mimi und der Italiener Gabriele Mangione als Rudolfo. Sie verfügt über einen breit angelegten Sopran‚ und ihre Stimme kennt auch in den Höhen keine Probleme /// ...two distinguished guests: The Briton Anna Patalong as Mimi and the Italian Gabriele Mangione as Rudolfo. She has a wide-ranging soprano‚ her voice soaring the heights effortlessly

Der Neue Merker (October 2014)

Eine große Leistung lieferte die Britin Anna Patalong als Mimi. Strahlend schön ihr Sopran‚ lupenrein‚ im Schluss des ersten Bildes bis zum hohen C aufsteigend /// Anna Patalong delivered a great performance; her beautifully radiant soprano rising flawlessly to the high C in the first Act

HL-live (October 2014)

Anna Patalong als Mimi ist ein höhensicherer Sopran der auch beim hohen C keine Schärfe hören lässt. Darstellerisch ist sie überzeugend in ihrer Zurückhaltung und ihrer fast stummen Art‚ ihre Zuneigung zu Rudolfo zu zeigen /// Anna Patalong who plays Mimi is a high soprano‚ secure even at High C‚ which she reaches effortlessly. Her performance is convincing in its reserve and the quiet way she shows her affection for Rodolfo

Lübecker Nachrichten (October 2014)

Musikalisch bot Lübeck zudem einmal mehr eine uneingeschränkt große Leistung. Die Mimi sang die junge Anna Patalong. Die Stimme der Britin besitzt ein weiches‚ rundes Timbre‚ ist selbst in den Spitzen nie scharf und wird von ihr dynamisch fein schattiert /// Musically once again Lübeck offered a great performance. Mimi was sung by the young Anna Patalong. Her voice has a soft‚ round timbre; finely shaded and dynamic‚ even in the sharp peaks

NMZonline (October 2014)

Anna Patalong was a fine Terinka

Opera Magazine (September 2014)

Anna Patalong’s bright soprano and easy charm made her the perfect Terinka. Their Act I duet‚ accompanied by violin obbligato‚ was tenderly sung. Patalong would surely make a lovely Marenka in The Bartered Bride

Bachtrack (July 2014)

Anna Patalong’s feisty Terinka

The Guardian (July 2014)

...the casting is superb...Anna Patalong as his daughter Terinka sang a beautiful soliloquy in Act II‚ and her duet with the excellent Jiri of Matthew Newlin was full of warmth

Mark Ronan (July 2014)

...the young lovers were eager and new. Anna Patalong made a delightful Terinka‚ conflicted by her wish to satisfy her father (who favours the match with Filip) and by her love for Jiri. Terinka is very much a role like Marenka in The Bartered Bride and Patalong brought just the right combination of lyricism and intensity to it. Matthew Newlin made a finely impassioned and impulsive Jiri‚ with just the right amount of charm. The two have a couple of lovely lyrical duets‚ in which Patalong and Newlin were delightfully rapturous. They brought a nice freshness to the young lovers‚ which acted as a suitable counterpoint to the darker elements of the plot

Planet Hugill (July 2014)

It’s a fine ensemble effort from Buxton’s cast‚ too‚ with Anna Patalong’s charming Terinka standing out

The Spectator (July 2014)

I was equally charmed by Anna Patalong and Matthew Newlin as the courting peasants...

The Telegraph (July 2014)

There is also an on-going love tangle between Terinka‚ daughter of Benda the music master at the village school‚ and local lad Jirí‚ which gives rise to some memorable duets between Anna Patalong and Matthew Newlin

The Arts Desk (July 2014)

...the young yet ripe soprano Anna Patalong a feisty Terinka

The Times (July 2014)

Anna Patalong’s forthright‚ unvictimized Pamina‚ whose melting ’Ach‚ ich fühl’s’ really hit the spot

Opera Magazine (May 2014)

Anna Patalong stands out as a warm and smooth-toned Pamina‚ singing a tender “Ach‚ ich fühls”

The Telegraph (March 2014)

Anna Patalong’s heartbroken Pamina gave us moments of spellbinding beauty‚ rich soft singing in her laments‚ under the mistaken impression that Tamino has turned against her

Bachtrack (March 2014)

Pamina (Anna Patalong who stole the show)...Anna Patalong was outstanding as Pamina‚ taking the audience along with her as she was battered by hopelessness and restored to perfect happiness. Her impassioned smooth soprano voice also showed its versatility in the fast moving more ornamented passages

Planet Hugill (March 2014)

ETO’s musical standards have surely never been higher than on the present tour...Vocally‚ too‚ this is an impressive evening from first to last; especially notable Anna Patalong’s pure lyricism as Pamina

The Stage (March 2014)

Anna Patalong’s Pamina was sweetly sung‚ vulnerable yet poised

What’s On Stage (March 2014)

...Anna Patalong harnessed her fresh‚ fruity soprano vibrantly‚ and was a winning stage presence

Opera Magazine (December 2013)

Anna Patalong shone as the beautiful yet haughty Adina making us pray for her to fall for the charms of Nemorino

Candid Chaos (October 2013)

Soprano Anna Patalong‚ as Adina the college teacher‚ brings an easy dexterity‚ with a richness of tone that is always a delight

The Irish Times (October 2013)

Anne Patalong’s prim Adina turns vamp when she lets down her hair

The Sunday Times (October 2013)

Es lag vor allem an dem auch darstellerisch vorzüglichen Solistenensemble‚ dass die Händel-Barry-Produktion dennoch zu einem umjubelten Erfolg wurde...Die in ein pastellfarbenes Sekretärinnenkostüm gekleidete Schönheit (mit glockenhellem Sopran: Anna Patalong)///It’s due mainly to the performances of the exquisite soloist ensemble‚ that the production of Handel-Barry was an acclaimed success...Beauty as a pastel-costumed Secretary (bell-bright soprano: Anna Patalong)

Badische Zeitung.de (February 2013)

Da elogiare in blocco il cast händeliano‚ guidato dai musicalmente seducenti Patalong... /// To commend the entire Handel cast‚ led by the musically seductive Patalong...

Giornale della musica (February 2013)

Anna Patalong sang die Schönheit mit einer wunderbaren Sopranstimme‚ die geschmeidig durch virtuose Koloraturen und Verzierungen glitt /// Anna Patalong sang the role of Beauty with a beautiful soprano voice‚ which glided smoothly through virtuoso coloratura and ornamentation

Pforzheimer Zeitung (February 2013)

Das Solistenensemble (Joshua Bloom‚ William Purefoy‚ Anna Patalong‚ Stefanie Schaefer‚ Sebastian Kohlhepp) sang auf Festspielniveau und schlug dramatische Funken aus einem spröden Text /// The soloists (Joshua Bloom‚ William Purefoy‚ Anna Patalong‚ Stefanie Schaefer‚ Sebastian Kohlhepp) sang at the festival level and struck sparks from a brittle dramatic text

Südkurier (February 2013)

Anna Patalong is a convincing Zerlina – a little bit common‚ you might say – but her singing is bright and lively even when massaging her husband’s bruises

Seen & Heard International (October 2012)

Anna Patalong’s beautifully sung Zerlina (in a bridal gown and pink boots‚ which she later swaps for the tightest of miniskirts and grapples sexily with Masetto) goes beyond the young innocent to suggest a feisty bit of stuff who really knows her way around

Birmingham Post (September 2012)

The women shine brightest: Catrin Aur’s Anna‚ Helen Sherman’s Elvira and especially Anna Patalong’s sparky Zerlina are stylishly sung

The Guardian (September 2012)

All three women — Helen Sherman as Elvira‚ Catrin Aur as Anna and Anna Patalong as Zerlina — are persuasive vocally and dramatically

The Times (September 2012)

Jung Soo Yun’s Rinnucio and Anna Patalong’s Lauretta got maximum mileage out of their duetting

Opera Magazine (September 2012)

As his beloved Lauretta‚ Anna Patalong was delightful and her O mio babbino caro emerged entirely naturally as she blocked her father’s way to stop him walking out

Mark Ronan (July 2012)

Anna Patalong (Lauretta) interpreted her famous aria ‘O mio babbino caro’ with a touching and beautiful legato

Bachtrack (June 2012)

How could anyone resist Anna Patalong’s sweet and imploring entreaties? ...the eye- and ear-catching‚ very persuasive Patalong

Classical Source (June 2012)

Anna Patalong delivered the showstopping O mio babbino caro with winning sweetness

Intermezzo (June 2012)

Anna Patalong is terrific as his daughter Lauretta

Metro (June 2012)

Never before has it been made quite so clear that ’Oh mio babbino caro’ is really nothing to do with devotion and everything to do with emotional blackmail. This is mainly down to Anna Patalong’s excellent performance as Lauretta

Music OMH (June 2012)

...the inspired eloquence of “O mio babbino caro” – winningly sung here by the Lauretta of Anna Patalong – bespeaking in one glance the entire emotional undercurrent of the piece... one of the standouts of the evening... It is never easy to tackle a piece of music famous enough to carry high expectations from every member of the audience‚ and her “O mio babbino caro” was sweet and radiant. The final scene finds the set rolling back to reveal the two young lovers embracing on a high parapet overlooking the Duomo and the spires of Florence‚ a perfect ending to an enchanting performance

Opera Britannia (June 2012)

Anna Patalong‚ a recent Guildhall graduate‚ threatened to steal the show with the most famous (oh so brief) aria‚ “O mio babbino caro”

Seen and Heard (June 2012)

Anna Patalong sang O mio babbino caro prettily

The Telegraph (June 2012)

...well served by Anna Patalong’s appealingly sung Lauretta

The Stage (June 2012)

Anna Patalong and Jung Soo Yun seizing their lyrical opportunities as the young lovers

The Times (June 2012)

The gorgeous‚ Chianti soprano of Anna Patalong despatched Puccini’s show-stopper with lyrical beauty

What’s On Stage (June 2012)

Anna Patalong gave us an intense study of Blanche’s character

Bachtrack (June 2011)

the star of the show is undoubtedly Anna Patalong as Blanche. She has an astonishingly mature and sophisticated voice. It has richness and timbral complexity that puts all of her colleagues in the shade. She was as close to note perfect as any opera house could require. And she can really act. Remember the name

OrpheusComplex (June 2011)

Outstanding. The hugely talented Anna Patalong‚ Sophie Junker and Sylvie Bedouelle led the admirable ensemble

The Guardian (June 2011)

...sung with a beautiful purity of tone and line by soprano Anna Patalong

What’s On Stage (June 2011)

Anna Patalong commands the lyric and neurotic impulses of fear-stricken Blanche with even tone throughout the range

The Arts Desk (March 2011)

The bright flare at the top of Anna Patalong’s soprano gives voice to the highly-strung nerves of Blanche

The Times (March 2011)

Anna Patalong as Rita gave a consummate performance – a soprano vocally nimble‚ vivacious and suitably exotic looking‚ with her singing apparently effortless and always at the service of her acting

Bachtrack (June 2011)

Anna Patalong sang Rita with relish‚ her crisp‚ light soprano hitting the high notes with pin-point accuracy... a most promising performance. I see she’s singing Lauretta at Holland Park next year‚ which should suit her down to the ground

Opera Britannia (June 2011)

Top-quality standards‚ too‚ are to be found among the seven principals...Anna Patalong the determined Latina maid Serpetta

The Guardian (July 2013)

Anna Patalong was a complete delight at Serpetta‚ the housekeeper‚ who was definitely Despina on acid. Patalong is one of those stage creatures who are eminently watchable whether or not they are part of the main action. And she sings too

Planet Hugill (July 2013)

Best of all was Anna Patalong as Serpetta‚ Don Anchise’s housekeeper. Her acting matched her singing

Seen & Heard International (July 2013)

a Lorca-inspired phonetic fantasia ravishingly sung by Anna Patalong

Financial Times (December 2009)

the poise of Anna Patalong‚ a lyric soprano surely destined for great things... gave a performance of surpassing beauty

The Arts Desk (December 2009)

soprano Anna Patalong’s command of Lorca’s strident and sensual lyrics was astonishing‚ the music utterly compelling

The Independent (December 2009)