mezzo soprano








​The Cunning Little Vixen, Garsington Opera, June - July 2014

"There's not a weak link to be found amongst the many small roles, but even in such excellent company Anna Harvey's gleefully priapic Lapák shone - with her spivvy checked trousers and 'tache, she was so convincingly masculine that I thought we were to have a tenor Dog until she revealed a big, bright, characterful mezzo that's surely destined for exciting things." ​

​WHAT'S ON STAGE, Katherine Cooper, 24th June 2014

"Anna Harvey managed to make the randy, flea-ridden Dog appealing." ​

MUSIC OMH, Melanie Eskenazi, 24th June 2014 ​

"[The] disgustingly randy dog (Anna Harvey, brilliant) stick[s] in the memory."

​CLASSICAL SOURCE, Peter Reed, 25th June 2014 ​

"Anna Harvey caught the mischievous character of Lapák." ​ ​

SEEN AND HEARD INTERNATIONAL, Curtis Rogers, 24th June 2014

"Anna Harvey has fun as the randy farmyard Dog." ​ ​​

​THE MAIL ON SUNDAY, David Mellor, 6th July 2014


Ariodante, Royal Academy of Music, 20th/24th March 2014

"[Ariodante] has become a showcase for big-personality divas. Anna Harvey’s performance here is remarkable: not just delivering great arias such as Dopo notte and Scherza infida with clarity, energy and feeling, but also catching the macho swagger and subsequent hopelessness of a guy who thinks he is being handed the world on a plate, then has it dashed from his hand." ​

THE TIMES, Richard Morrison, 24th March 2014 ​

"The cast was stunning. There was real maturity in these young voices, with strength and control and astonishing maturity all round…Anna Harvey’s warm-voiced Ariodante embodied the softness of this puppyish, over emotional boy…‘Dopo notte’ was a sunburst of blistering happiness, done with true virtuosity." ​

OPERA NOW, Robert Thicknesse, May 2014

"There was an outstanding central performance from the remarkable Anna Harvey in the title role.  She held the stage all evening, assuming and singing the role with complete assurance, and finished us off with bravura performance of that great aria Dopo notte at the end of the evening."

BRIAN DICKIE OPERA BLOG, 21st March 2014

"Anna Harvey was a treat as Ariodante, her bell-clear voice, with its perfect projection, nicely weighted throughout its range. The music fitted her voice perfectly, and she sang with infectious joy. Her rendition of the famous “Dopo notte” was masterly."

BACH TRACK, Charlotte Valori, 25th March 2014

"Anna Harvey’s Ariodante retained innocence and freshness throughout, with ‘Scherza infida’ expressed as a matter of outrage rather than a self-pitying lament. Harvey controlled her coloratura…resulting in vocal clarity for ‘Dopo notte’, the opera’s musical climax." ​

​CLASSICAL SOURCE, Curtis Rogers, 20th March 2014


"Mezzo Anna Harvey stood out for her clear, accurate singing as Ariodante, as well as her remarkably convincing acting of the young, passionate knight."

​THE SPECTATOR, Hugo Shirley, 29th March 2014
Eugene Onegin, Royal Academy of Music, 14th/18th March 2013


“The late-40s Madame Larina was cleverly portrayed and warmly sung by Anna Harvey, and her duet with the impressive contralto of 
​Angharad Lyddon (Filippyevna) was a great pleasure.”​

OPERA, Peter Reed, May 2013

​“Other moments that resonate in the mind:…Anna Harvey’s posture
​and warmth as Madame Larina, totally convincing as an elegant middle aged woman though she can scarcely have been older than Tatyana in reality…Anna Harvey’s Madame Larina was…sung…with a pleasingly full timbre and comfortable fluency.”​

CAPRICCIO MUSIC BLOG, 18th March 2013

“Anna Harvey is an effective Larina — Ramster has her sit silent and stern, like Whistler’s mother, during the final scene, a neat and tragic touch.”​

THE TIMES, Neil Fisher, 13th March 2013


“There was also much to admire in Anna Harvey’s eminently professional Mme Larina.”

​SEEN AND HEARD INTERNATIONAL, Mark Berry, 15th March 2013


“The Act I duet with Anna Harvey's Madame Larina was the other highlight of the evening.”​

​BACH TRACK, David Karlin, 12th March 2013


Arias with the London Mozart Players, Fairfield Halls, 2nd November 2012

“The high point was the young mezzo Anna Harvey singing Berlioz’s Villanelle and Mozart’s Voi che sapete with sensitivity and lustre.”

THE TIMES, Hilary Finch, 6th November 2012

Loewe Passion Oratorio, Oxford Town Hall, 31st March 2012

“Anna Harvey’s “Heil’ge Nacht” (after the arrest in Gethsemane) proved easily the most exquisite passage of the second part.”

CHURCH TIMES, Roderic Dunnett, April 2012

Handel Messiah, All Saint’s Church, Basingstoke, 24th March 2012

“Anna Harvey’s rich, velvety qualities…The lilting aria He Shall Feed leading onto Come Unto Him enabled the rich warm sonorities of Anna Harvey’s voice…to be fully appreciated.”

BASINGSTOKE GASETTE, Virginia Pearson, March 2012

Albert Herring, Opera Holland Park Yucca Lawn, 24th July 2011

“Anna Harvey’s deliciously fussy Mrs Herring...”

THE OBSERVER, Fiona Maddocks, July 2011

Anna H​arvey


Love, Melody, Spain Recital, Opera Prelude, April 2017

"Friday evening’s gem of a performance...Harvey immediately engaged with her audience, her captivating facial expressions bringing the music to life. She showed remarkable poise and control, understanding the acoustic demands of the intimate space...It was in the Manuel de Falla Siete Canones Populares Espanolas that we had some of the very best performances of the evening...In tales of passion, sorrow and joy, Harvey’s voice took on the proud spirit of the Spanish...Both artists were impressive, being equally as accomplished in the lyricism of Schumann as in the toe-tapping dance rhythms of the de Falla."


HENLEY STANDARD, Mandy Beard, 4th May 2017

Rinaldo, Theater Chemnitz, March 2017


​"Baritone Andreas Beinhauer ... combines cultivated singing with a dramatic approach; the same can be said about mezzo-soprano Anna Harvey as Goffredo, the leader of the crusaders." 

DRESDNER NEUESTE NACHRICHTEN, Boris Gruhl

"Their leader is Goffredo, who is sung impressively and played with parodic irony by Anna Harvey."

SACHSISCHE ZEITUNG, Jens Daniel Schubert

"Anna Harvey (Goffredo) and Jud Perry (Eustazio) complete the ensemble on a classy level."

ONLINE MERKER, Joachim Weise


​Gold!, Bühne der Stadt, Gera, November 2016

"Eine liebenswerte Inszenierung, die mit wenigen Requisiten auskommt und ganz und gar von der Hauptdastellerin lebt. Sie schlüpft 50 Minuten lang in sämtliche Rollen, schafft Stimmung [und] Spannung...Eine tolle darstellerische und gesangliche Leistung.

A lovely staging, which worked with only a few props and is lived out entirely by the main actress. For 50 minutes she slips between all the roles, creating both atmosphere and suspense... Vocally and dramatically a fantastic performance."

Ulrike Kern, Ostthüringer Zeitung, Kultur, 14 November 2016

Alcina, Longborough Festival Opera, 30th July–4th August 2016

"Anna Harvey made a poised and noble Bradamante."

BIRMINGHAM POST, Richard Bratby, 30 July 2016

"Anna Harvey…impressed with the sincerity and resilience she displayed in the part."

SEEN AND HEARD INTERNATIONAL, Roger Jones, 30 July 2016


Le Nozze di Figaro, Longborough Festival Opera, 26th June – 7th July 2016

"The singing was uniformly excellent, with the vocal highlights coming from … most particularly, Anna Harvey’s excellent Cherubino."

INDEPENDENT, David Lister, 4 Jul 2016


"Cherubino, sung by Anna Harvey, was excellently performed. Harvey has a naturally youthful mezzo, and the higher register is in perfect condition, gleaming at the very top. Everything she sang was packed with flavour with high quality of acting, and there was a clear enjoyment in rising to the hamminess that the part requires."

BACHTRACK, Dominic Lowe, 27 Jun 2016

"Uniformly excellent singing (especially some top, top capering from mezzo Anna Harvey as Cherubino)."

CLASSIC FM, Daniel Ross, 1 Jul 2016


"A mellifluous mezzo-soprano who commanded attention whenever she appeared on stage."

STRATFORD HERALD, Gill Sutherland, 4 Jul 2016

"Anna Harvey reveals a beautiful and rich mezzo-soprano as Cherubino."

MUSIC OMH, Sam Smith, 28 Jun 2016

"…the dynamic, restless character of Anna Harvey’s Cherubino… she captured the lovable roguishness of the part with enjoyable flair."

CLASSICAL SOURCE, Curtis Rogers, 28 Jun 2016

"A cast of excellent singers who assume the character of the roles they play to perfection… Anna Harvey as Cherubino comes over as a particularly gauche adolescent unable to keep his passions under control and managing hilariously to be forever in the wrong place at the wrong time."

SEEN AND HEARD INTERNATIONAL, Roger Jones, 29 Jun 2016

"Anna Harvey’s rangy, lanky and believably boyish Cherubino."

​PLAYS TO SEE, Mel Cooper, 3 Jul 2016

Bach B Minor Mass, Royal Northern Sinfonia, Sage Gateshead, 25th March 2016

"Expressive depth from mezzo Anna Harvey and oboist Steven Hudson in a sublime Qui sedes…In the last pause for reflection before the summit, Anna Harvey and the Royal Northern Sinfonia violins…gave us an astoundingly moving and tender Agnus Dei, weighed down with all the grief and tears of a sinful world."

BACHTRACK, Jane Shuttleworth, 26th March 2016

Rossini Petite Messe Solonelle, Wimbledon Choral Society, Cadogan Hall, 20th March 2016

"Experienced soprano Claire Seaton sang with appealing tone, while Anna Harvey’s soft-grained mezzo blended with her beautifully in the Qui tollis peccata mundi. Harvey projected well in the Agnus Dei, long phrases spun warmly."

BACHTRACK, Mark Pullinger, 20th March 2016

Spohr The Last Judgement, Faust Chamber Ensemble, LSO St Luke’s, 4th March 2016

"Mezzo Anna Harvey stood out among the quartet of soloists with her rich tone and sensitive phrasing."

THE GUARDIAN, Tim Ashley, 8th March 2016

"The mezzo soprano Anna Harvey created exactly the right atmosphere, her rich sound, idiomatic German and calm, devotional stage presence making us wish Spohr had given her much more to sing."

PLANET HUGILL, Ruth Hansford, 7th March 2016

The Marriage of Figaro, Opera Project at West Green House Opera, 25th & 26th July 2015

"Anna Harvey produces a sweet sound as Cherubino."

MUSIC OMH, Sam Smith, 27th July 2015, http://www.musicomh.com/classical/reviews-classical/marriage-figaro-west-green-house-opera-hartley-wintney#pWKmAppYjkgywcvs.99

Bach Cantatas BWV 11 & 75, Alice Tully Hall, Lincoln Center, New York, 15th June 2015

"The Royal Academy was represented by the mezzo-soprano Anna Harvey and the tenor Gwilym Bowen. Ms Harvey was simply wonderful, and her aria in Cantata No. 11, “Ach bleibe doch” was the evening’s high point."

THE NEW YORK TIMES, James R. Oestreich, 17th June 2015


The Bear, Royal Academy of Music, 14th & 15th May 2015

"It’s about a determinedly grieving widow, sung with abandon by Anna Harvey, whose voice we must surely be hearing in Wagner before long." 

THE SPECTATOR, Michael Tanner,18th May 2015

The Ice Break, Birmingham Opera Company, 3rd-9th April 2015

"Anna Harvey and Meili Li (in the joint role of space messenger Astron) rounded out a first-rate cast without any weak links."

OPERA NOW, Warwick Thompson, June 2015

"There are other strands, too…the intervention of Astron (a double role, shared between Anna Harvey and Meili Li), an apparently extraterrestrial messenger who urges the crowd to cherish the Earth."

THE GUARDIAN, Andrew Clements, 5th April 2015

Suor Angelica, Royal Academy of Music, 20th/24th Nov 2014

"There were fine performances: Anna Harvey’s icy Principessa."

OPERA NOW, Robert Thicknesse, February 2015

​"The supporting cast had not a weak link, and Anna Harvey’s elegantly-sung Zia Principessa made for a cruel foil indeed."

SEEN AND HEARD INTERNATIONAL, Mark Berry, 23rd November 2014

​"There were some great performances. Emily Garland was a brave and moving Angelica, Anna Harvey (who I last saw as an alarmingly convincing Ariodante) was here transformed into a steely, evil librarian Zia Principessa."

​HUGO SHIRLEY OPERA BLOG, 26th November 2014

Hänsel und Gretel, Garsington Emerging Artists/West Green Opera, 26th/27th July 2014

"The acting and singing of Anna Harvey and Alice Rose Privett as Hänsel and Gretel…[showed] their undoubted technical accomplishment...their night-time prayer in the forest at the end of Act Two sounded particularly innocent…without doubt we shall be witnessing some memorable performances from them in future years as this early promise comes to full fruition."


SEEN AND HEARD INTERNATIONAL, Curtis Rogers, 29th July 2014