R e v i e w s
Wesendonck Lieder (Wagner)
Loveday possesses a clear, radiant voice with great power and depth.
The Wagner Journal - March 2025
Don Carlo (Verdi)
Anna Loveday was terrific as Princess Eboli, the scarlet woman who
runs rings around her unhappy queen. Bright and forward in the
Veil Song, she delivered a lacerating ‘O Don Fatale’ in a showstopping
flood of passion and regret. Opera Magazine - October 2024
Macbeth (Verdi)
Lady Macbeth was excellent. I understand she calls herself a mezzo,
so I did wonder if she was up to singing the role. She was. A strong
and radiant voice with which she sang this difficult role with aplomb
and vitality. The range didn't appear to cause any problems for a
mezzo and her high D flat at the end of the sleepwalking scene was
beautifully executed.
Georgina Turner
Enter Lady Macbeth (Anna Loveday) - a huge, powerful voice and
confident acting.
Anne Golding
The undisputed star of Southgate's Macbeth was Lady Macbeth.
You don't mess with Lady M and this production understood that fully.
Anna Loveday has the perfect voice and stage presence for the part;
sure, strong, weighty and expressive. Her melodic lines in the ensembles
where she soars over everyone else - are just spine tingling.
Basso di Cornetto
La Gioconda (Ponchielli)
Perhaps the best actress was Anna Loveday, who believably played Laura as the physically and emotionally abused trophy wife of an intimidating bully. Vocally Loveday was at her best when she and Gioconda have their brainstorming diva duel for the love of Enzo in Act II.
Jim Pritchard (Seenandheard-international.com)
Carmen (Bizet)
You can’t have an easy going Carmen. The opera is about her – the clue is in the title – and she needs to be passionate. The whole thing hangs on her having enough va va voom for men to die for her. If she doesn’t, it won’t work ... the night I went Carmen was Anna Loveday. And she practically set the stage on fire. Some of those moves were – they were - mmmm, yes! I thought - she must be a true Latina! Turns out she isn’t – so a very fine performance indeed! She also had genuine stage presence – you couldn’t take your eyes off her. It all worked …
Stephen Dinsdale
Anna Loveday utilised all the colours of her amazing mezzo-contralto, a voice as striking as her looks.
John Lanigan-O'Keeffe
Aida (playing Amneris) (Verdi)
Anna Loveday had worked the role fully into her voice and acted with growing fervour as the tragedy progressed.
Opera Magazine
Suffragette - a one woman show (Geoff Lawson)
The actress, Anna Loveday, embodied the characters passionately and had no trouble
encouraging some audience participation!
Fabulous show.
Susan Merrick
It is a tour de force for Anna Loveday narrating and acting out the story and her strong voice was heard to advantage when delivering parlour songs and 'battle hymns' from the period.
Jeff Thomson
Exceptional abilities of the leading lady, who convincingly shifts from character to character; one truly forgets at times that one is watching the same person!
Skiddle review
Mandarin's Dilemma - a contemporary opera (Joe St.Johanser)
Its premiere production benifitted from excellent leads in Helen Semple and Anna Loveday, both of whom were highly convincing in their execution of characters.
Christopher Wiley
