REVIEWS
Humperdinck Hänsel und Gretel - Pop-Up Opera
"Sofia Larsson makes a feisty Gretel, a tomboy with a growth spurt and a penchant for rice pudding, and she uses her warm soprano with characterful originality in order to create a sympathetically rounded little girl."
Mark Valencia, WhatsOnStage.com (October 2017)
". . . a harmonious pairing between the two leads, both vocally and in acting style . . . superbly achieved by Polly Leech and Sofia Larsson, who have great chemistry with each other, and a fine command of stage movement that does not impede vocal acrobatics and a sensuous blending of tone in the long duet stretches that anticipate Richard Strauss in their velvety richness and complexity . . . Larsson generates just the right gawky awkwardness and crafty self-preservation needed to make Gretel believable."
Tim Hochstrasser, LiveTheatreUK (October 2017)
"The singers are also excellent actors . . . Leech and Sofia Larsson are captivating and utterly believable as Hansel and Gretel . . . Gretel’s playfulness and courage are beautifully brought to life by Larsson, and when the children joined their voices in a prayer to the angels before falling asleep in the forest it was genuinely touching."
Katre, thespyinthestalls.com (October 2017)
"The performances were fantastic across the board. The two leads: Sofia Larsson as Gretel and Polly Leech as Hansel were not just stunning singers but their acting really added a dimension. Leech’s facial expressions and cheeky demeanour were spot-on as was Larsson’s innocent and inquisitive Gretel."
The Stuart Review (October 2017)
Humperdinck Hänsel und Gretel - Royal College of Music
"As Gretel, Gemma Lois Summerfield and Sofia Larsson both proved warmly sympathetic, both in vocal and stage terms."
Mark Berry, Seen and Heard (July 2016)
"As Gretel, Gemma Lois Summerfield and Sofia Larsson both proved warmly sympathetic, both in vocal and stage terms."
Mark Berry, Seen and Heard (July 2016)
Handel Ariodante - London Handel Festival
"In Sofia Larsson's case as Ginevra, she acquitted herself superbly through the widely shifting psychological and emotional demands Handel makes as the character undergoes romantic joy and apparent bereavement, false accusation, rejection, and near execution, before ultimate vindication."
Curtis Rogers, Classical Source (March 2016)
"Sofia Larsson’s Ginevra was impassioned and full of heart . . . we enjoyed dramatic changes of colour. Her lament of despair, ‘Il mio crudel’, was particularly affecting."
Claire Seymour, Opera Today (March 2016)
"There were many fine moments from each singer, including Sofia Larsson's Ginevra"
Fiona Maddocks, The Guardian (March 2016)
"Il mio crudel martoro” was a triumph"
Alexander Coghlan, The Arts Desk (March 2016)
"The two sopranos, Sofia Larsson’s heartfelt Ginevra and Galina Averina’s incisive Dalinda, were well contrasted."
Richard Fairman, The Financial Times (March 2016)
"In Sofia Larsson's case as Ginevra, she acquitted herself superbly through the widely shifting psychological and emotional demands Handel makes as the character undergoes romantic joy and apparent bereavement, false accusation, rejection, and near execution, before ultimate vindication."
Curtis Rogers, Classical Source (March 2016)
"Sofia Larsson’s Ginevra was impassioned and full of heart . . . we enjoyed dramatic changes of colour. Her lament of despair, ‘Il mio crudel’, was particularly affecting."
Claire Seymour, Opera Today (March 2016)
"There were many fine moments from each singer, including Sofia Larsson's Ginevra"
Fiona Maddocks, The Guardian (March 2016)
"Il mio crudel martoro” was a triumph"
Alexander Coghlan, The Arts Desk (March 2016)
"The two sopranos, Sofia Larsson’s heartfelt Ginevra and Galina Averina’s incisive Dalinda, were well contrasted."
Richard Fairman, The Financial Times (March 2016)
Holst Savitri - British Youth Opera
"Sofia Larsson . . . catches the mix of determination and vulnerability perfectly"
Andrew Clements, The Guardian (September 2015)
" . . . the freshness and warmth of Sofia Larsson's soprano was the most welcome rejoinder"
Neil Fisher, The Times (September 2015)
"Sofia Larsson's Savitri showed engaging artistry, individual in timbre and personality. Her 'Welcome, Lord' was as tender as one could wish."
Christopher Webber, Opera Magazine (November 2015)
"Sofia Larsson used her flexible, bright (voice) . . . to combine wit, nobility and weight in a passionate portrayal of the title-role."
Peter Reed, Classical Source (September 2015)
"Sofia Larsson . . . catches the mix of determination and vulnerability perfectly"
Andrew Clements, The Guardian (September 2015)
" . . . the freshness and warmth of Sofia Larsson's soprano was the most welcome rejoinder"
Neil Fisher, The Times (September 2015)
"Sofia Larsson's Savitri showed engaging artistry, individual in timbre and personality. Her 'Welcome, Lord' was as tender as one could wish."
Christopher Webber, Opera Magazine (November 2015)
"Sofia Larsson used her flexible, bright (voice) . . . to combine wit, nobility and weight in a passionate portrayal of the title-role."
Peter Reed, Classical Source (September 2015)
Britten Albert Herring - Royal College of Music
"Sofia Larsson was a mad coloratura delight as Miss Wordsworth"
Robert Hugill (July 2015)
"Sofia Larsson was a mad coloratura delight as Miss Wordsworth"
Robert Hugill (July 2015)
Handel Giove in Argo - London Handel Festival
"The standout performances are the three women . . . Sofia Larsson, putting across 'Tornami a vagheggiar' and other demanding arias while being bound and crucified."
Richard Morrison, The Times (March 2015)
"Sofia Larsson's Calisto gets to sing Tornami a vagheggiar, imported from Alcina, which she does with considerable aplomb."
Tim Ashley, The Guardian (March 2015)
"Sofia Larsson also gave a stunning performance as the virginal nymph Calisto, singing with wonderful purity and strength . . . Larsson's sense of genuine excitement at being accepted as one of Diana's virgin huntresses was excellent, as was her tremblingly hesitant acceptance of Arete (Giove in disguise) as her lover. Larsson's “Gia sai che l'usignol” was just one lovely moment in a performance filled with fluency and grace; “Ah! non son io che parlo” was another highlight."
Charlotte Valori, Bachtrack (March 2015)
". . . Sofia Larsson's Calisto has a riveting intensity"
Clare Colvin, Sunday Express (March 2015)
"No one, though, matches Sofia Larsson as his daughter, Calisto, for intensity and dramatic engagement with her character, notwithstanding the indignities heaped on her by Bonas."
Mark Valencia, WhatsOnStage (March 2015)
"Larsson acquitted herself superbly in the most extravagant role of the opera, which includes two show-stopping arias: the famous 'Tornami a vagheggiar' from Alcina, and nearly as fine, 'Combattuto da più venti' from Faramondo. Her vocal skills were fully commensurate with the demands of the coloratura."
Curtis Rogers, Classical Source (March 2015)
"The standout performances are the three women . . . Sofia Larsson, putting across 'Tornami a vagheggiar' and other demanding arias while being bound and crucified."
Richard Morrison, The Times (March 2015)
"Sofia Larsson's Calisto gets to sing Tornami a vagheggiar, imported from Alcina, which she does with considerable aplomb."
Tim Ashley, The Guardian (March 2015)
"Sofia Larsson also gave a stunning performance as the virginal nymph Calisto, singing with wonderful purity and strength . . . Larsson's sense of genuine excitement at being accepted as one of Diana's virgin huntresses was excellent, as was her tremblingly hesitant acceptance of Arete (Giove in disguise) as her lover. Larsson's “Gia sai che l'usignol” was just one lovely moment in a performance filled with fluency and grace; “Ah! non son io che parlo” was another highlight."
Charlotte Valori, Bachtrack (March 2015)
". . . Sofia Larsson's Calisto has a riveting intensity"
Clare Colvin, Sunday Express (March 2015)
"No one, though, matches Sofia Larsson as his daughter, Calisto, for intensity and dramatic engagement with her character, notwithstanding the indignities heaped on her by Bonas."
Mark Valencia, WhatsOnStage (March 2015)
"Larsson acquitted herself superbly in the most extravagant role of the opera, which includes two show-stopping arias: the famous 'Tornami a vagheggiar' from Alcina, and nearly as fine, 'Combattuto da più venti' from Faramondo. Her vocal skills were fully commensurate with the demands of the coloratura."
Curtis Rogers, Classical Source (March 2015)
Bernstein Songs - Petersfield Music Festival
" . . . the very accomplished soloist was Sofia Larsson. Changing her performance to suit the particular song, Sofia charmed the audience both with her witty introductions and with her delightful singing. The highlight for me was the four songs from 'I Hate Music, a Cycle of Kid Songs' which brought out-loud laughs from the audience."
David Francombe (March 2014)
" . . . the very accomplished soloist was Sofia Larsson. Changing her performance to suit the particular song, Sofia charmed the audience both with her witty introductions and with her delightful singing. The highlight for me was the four songs from 'I Hate Music, a Cycle of Kid Songs' which brought out-loud laughs from the audience."
David Francombe (March 2014)
Handel Theodora - Brecon Baroque Festival
"Soprano Sofia Larsson was a touchingly sincere Theodora, quietly contained in her heroism, with a lovely ring to the top of her voice. Most affecting were her duets with the elegantly-toned Robin Blaze singing the role of Didymus, the soldier and fellow-Christian who loves Theodora and ultimately chooses to die with her. Their final contemplation of the 'Streams of Heaven' was a blissful union."
Rhian Evans, The Guardian (October 2013)
"Soprano Sofia Larsson was a touchingly sincere Theodora, quietly contained in her heroism, with a lovely ring to the top of her voice. Most affecting were her duets with the elegantly-toned Robin Blaze singing the role of Didymus, the soldier and fellow-Christian who loves Theodora and ultimately chooses to die with her. Their final contemplation of the 'Streams of Heaven' was a blissful union."
Rhian Evans, The Guardian (October 2013)
Thelma King Award for Singers - Bath
"The second prize of £500 went to soprano Sofia Larsson, singing Handel, Strauss and Debussy. She has a big coloratura voice, fearless and expressive at the top end, and I particularly enjoyed Debussy's lyrical ballad 'Green', graceful and elegant, the voice controlled and poised with excellent diction."
Peter Lloyd Williams (March 2013)
"The second prize of £500 went to soprano Sofia Larsson, singing Handel, Strauss and Debussy. She has a big coloratura voice, fearless and expressive at the top end, and I particularly enjoyed Debussy's lyrical ballad 'Green', graceful and elegant, the voice controlled and poised with excellent diction."
Peter Lloyd Williams (March 2013)
Schubert Mass in G - St John’s Smith Square
"The highlight of an excellent evening in St John’s, Smith Square, was Sofia Larsson, the outstanding soprano in Schubert’s 'Mass in G'. Every note was perfect and full of feeling."
Kensington Parish News (March 2013)
"The highlight of an excellent evening in St John’s, Smith Square, was Sofia Larsson, the outstanding soprano in Schubert’s 'Mass in G'. Every note was perfect and full of feeling."
Kensington Parish News (March 2013)
Oxford Lieder Festival Recital - Holywell Music Room
"A lunchtime concert marking the anniversary of the death of Dietrich Fischer-Dieskau was given by two outstanding young singers Sofia Larsson and Andri Björn Róbertsson."
Peter Schofield (October 2012)
"A lunchtime concert marking the anniversary of the death of Dietrich Fischer-Dieskau was given by two outstanding young singers Sofia Larsson and Andri Björn Róbertsson."
Peter Schofield (October 2012)
W S Gilbert’s Gretchen - The Stansted Players
"The whole cast, as always, was superb, while individual moments of brilliance added extra elements of delight to the entertainment . . . above all the divine voice of Sofia Larsson bewitching the audience with the heart-rending 'Piangerò la sorte mia' (‘I will bemoan my fate’) from Handel’s Giulio Cesare."
Northanger Benefice Magazine (September 2012)
"The whole cast, as always, was superb, while individual moments of brilliance added extra elements of delight to the entertainment . . . above all the divine voice of Sofia Larsson bewitching the audience with the heart-rending 'Piangerò la sorte mia' (‘I will bemoan my fate’) from Handel’s Giulio Cesare."
Northanger Benefice Magazine (September 2012)
