A Midsummer Night’s Dream, Nevill Holt Opera, June 2019
"Padraic Rowan and Anna Harvey are much more than ciphers, vocally, as Theseus and Hippolyta. A terrific ensemble achievement."
SUNDAY TIMES, Hugh Canning, 23rd June 2019
"Padraic Rowan and Anna Harvey prove extremely accomplished performers…[as] Theseus and Hippolyta."
MUSIC OMH, Sam Smith, 15th June 2019
Das Rheingold, Deutsche Oper am Rhein, May 2019
"Was für ein Rheinwasser, dass da in Verbindung mit die Silben-Sängerinnen, den wohldisponierten Rheintöchtern Heidi Elisabeth Meier, Roswitha Christina Müller und Anna Harvey, da vokal sprudelte. Eine wonnigliche Terzett-Harmonie mit Undinen-Klängen und Lockungen."
"What a Rhine scene, that binds together the silver-toned singers, the well-cast Rhinemaidens Heidi Elisabeth Meier, Roswitha Christina Müller and Anna Harvey, who vocally fizz. A delightful trio-harmony with nymph-like sounds and allurements."
RHEINISCHE POST, Thomas Bremser, 27th May 2019
Götterdämmerung, Deutsche Oper am Rhein, May 2019
"Pures Gesangsglück verströmten auch Sarah Ferede als Waltraute und die drei neckischen Rheintöchter: Heidi Elisabeth Meier als Woglinde, Annelie Sophie Müller als Wellgunde und Anna Harvey als Floßhilde."
"Pure vocal joy exuded from Sarah Ferede as Waltraute and the three coquettish Rhinemaidens: Heidi Elisabeth Meier as Woglinde, Annelie Sophie Müller as Wellgunde and Anna Harvey as Floßhilde."
RHEINISCHE POST, Ingo Hoddick, 6th May 2019
"Bestens miteinander harmonierend, treten Heidi Elisabeth Meier, Annelie Sophie Müller and Anna Harvey als Rheintöchter auf und bringen eine gehörige Portion Leichtigkeit in den dramatischen Abend."
"Perfectly harmonizing with each other, Heidi Elisabeth Meier, Annelie Sophie Müller and Anna Harvey appear as Rhinemaidens and bring a good dose of lightness into the dramatic evening."
O- TON KULTURMAGAZIN MIT CHARAKTER, 5th May 2019
"Chorischen Wohlklang verbreiten Heidi Elisabeth Meier, Anne Sophie Müller und Anna Harvey als Rheintöchter-Trio."
"Choral melodiousness exudes from Heidi Elisabeth Meier, Anne Sophie Müller and Anna Harvey as the Rhinemaiden-Trio."
RHEIN-ZEITUNG ONLINE, Rudolf Hermes, 7th May 2019
Dido and Aeneas, London Philharmonic Orchestra, January 2018
"In the other roles were such pristine singers as…particularly, Edward Grint, Ciara Hendrick and Anna Harvey as a transgender Sorceress and his/her devilish little helpers."
TIMES, Richard Morrison, 1st February 2019
"Edward Grint as the Sorceress was satisfyingly evil, as were the two witches who were deliciously malicious, with strong accurate singing from all three, notably Anna Harvey."
BACHTRACK, Mark Thomas, 31st January 2019
"Ably supported by two malevolent witches (Martha McLorinan and Anna Harvey)."
SEEN AND HEARD INTERNATIONAL, Chris Sallon, 1st February 2019
Handel Messiah, Royal Albert Hall, 20th December 2019
"Mezzo-Soprano Anna Harvey sang a well-shaped “He was despised”…“Oh thou that tellest good tidings to Zion” was lively."
BACHTRACK, Benjamin Poore, 23rd December 2018
Lili Boulanger Psaume 130, Three Choirs Festival, 3rd August 2018
"I don’t recall hearing Anna Harvey before but she impressed me tonight. Her voice carried well and her tone was very pleasing to hear. She sang her solos, which contain music of great feeling, in a satisfyingly expressive way but also with poise. Her legato was excellent, especially in her second solo where the warmth of her tone against a rich orchestral background gave great pleasure."
SEEN AND HEARD INTERNATIONAL, John Quinn, 4th August 2018
"Mezzo-soprano Anna Harvey acted as a spokesperson and focal point for this community, her repeated cries of “qui donc pourra tenir” (Who can stand?) suggesting a palpable fear lurking beneath their universal complaint."
BACHTRACK, Simon Cummings, 6th August 2018
L’Incoronazione di Poppea, Longborough Festival Opera, July/August 2018
"Anna Harvey’s Nerone was all the more vicious for being so outwardly charming: singing with a pure, mellow tone and a sunny demeanour that only occasionally hardened into a snarl or a maniacal smile. More often, she’d simply let a high-lying phrase open out and blaze with a radiance that made surrounding characters wither: absolute power seduces absolutely…voices slipping and melting into each other as they sang that blissful, terrible final duet."
CRITIC’S CIRCLE, Richard Bratby, 29th July 2018
"The cast is magnificent. As Nerone, Anna Harvey’s exceptionally full and developed mezzo-soprano works well with Sofia Troncoso’s beguiling soprano as Poppea, especially in ‘Pur ti miro’."
MUSIC OMH, Sam Smith, 3rd August 2018
"Every member of the 16-strong cast gave great performances, particularly the British mezzo-soprano Anna Harvey as Nero."
STRATFORD HERALD, Chris Smith, 9th August 2018
"Anna Harvey, who seemed to…be an Octavian in the making…Harvey and Tronscoso have voices that blend stunningly, especially in the final duets."
PLAYS TO SEE, Mel Cooper, 1st August 2018
"British mezzo Anna Harvey is a restrained and vocally assured Nerone…As the opera moved towards its climax…the tension was wound up to breaking point, and I found myself literally holding my breath during the final duet."
WALES ARTS REVIEW, Cath Barton, 2nd August 2018
"Anna Harvey’s Nerone is crisp and exact."
CLASSICAL SOURCE, Curtis Rogers, 28th July 2018
"Anna Harvey enjoys the chemistry between them. She leads the relationship confidently and shows her anger at Seneca’s goodwill attempt to prevent the dumping of Nerone’s wife, Ottavia."
SEEN AND HEARD INTERNATIONAL, Clive Peacock, 1st August 2018
"The powerful Troncoso, mezzo-soprano Harvey and countertenor Matthew Paine as Ottone who fights to retain Poppea’s love, are the outstanding members of the cast."
ARBUTURIAN, Rebecca Lipkin, 10th August 2018
Charpentier Litanies de la vierge, H83 CD with Hyperion Records, Released June 2018
"Charpentier’s ornate counterpoint is superbly realised – a tribute both to the Hyperion engineers and to the acute listening skills of the vocalists. An attractive feature of this account of the Litanies is the interplay between complementary (and competing?) male and female vocal trios. The three females in particular (sopranos Anna Dennis and Zoë Brookshaw and mezzo Anna Harvey) truly shine."
MUSICWEB INTERNATIONAL, Richard Hanlon, June 2018
"For the six-voice Litanies de la vierge, the TTB trio is augmented by Zoё Brookshaw, Anna Dennis and Anna Harvey…sung with nimble acuity in the dancing rhythms and heartfelt expression in the rich harmonies."
CLASSICAL SOURCE, David Truslove, June 2018
Le nozze di Figaro, Nevill Holt Opera, June 2018
"Anna Harvey’s beautifully sung Cherubino."
TIMES, Richard Morrison, The Times, 18th June 2018
"Anna Harvey’s naughty, rich-voiced ragamuffin of a Cherubino."
SUNDAY TIMES, Hugh Canning, 24th June 2018
"Anna Harvey…made an endearing Cherubino."
TELEGRAPH, Rupert Christiansen, 16th June 2018
"Mezzo Anna Harvey offers a pleasingly sung account of the male role of Cherubino."
STAGE, George Hall, 15th June 2018
"Anna Harvey…is splendid, with her performance of ‘Voi che sapete’ being particularly fine."
MUSIC OMH, Sam Smith, 17th June 2018
"Excellent contributions from Anna Harvey as the outrageously eager Cherubino, who interacted extremely well with Susanna and delivered a very fine aria in Act II about needing love rather than sorrow and despair."
MARK RONAN, Mark Ronan Theatre Reviews, 15th June 2018
Mozart Requiem, Manchester Camerata, January 2018
The four soli were wondrous in the Recordare – Ailish Tynan lyrical and soaring over the texture, Nicholas Mulroy passionate and powerful, and Anna Harvey and Peter Harvey adding well judged contributions.
ARTS DESK, Robert Beale, 1st February 2018
Vivaldi Gloria, Arcangelo, Wigmore Hall, December 2017
"Alto Anna Harvey contributed a lovely, well-modulated 'Qui sedes’."
PLANET HUGILL, Robert Hugill, 2nd January 2017
Die Fledermaus, Welsh National Opera, October-December 2017
"In some ways, the real star of this whole operetta is Prince Orlofsky, the mysterious, fabulously rich Russian who gives the ball to try to assuage his boredom at having the whole world at his feet. Anna Harvey (mezzo-soprano) took this trouser role with aplomb, giving us a Prince who was epicene and languid, but roused to enthusiasm by the entertainment provided by the guests who challenge each other about their identities and flirt incognito. He has the celebrated champagne aria and acts as a sort of embodiment of gaiety and carousing."
OXFORD PROSPECT, Julia Gaspar, 3rd December 2017
"Anna Harvey captures wittily the deadpan demeanor of Prince Orlofsky who claims to be bored with everything, and so hosts the party which witnesses the trick played by Falke and the prison governor, Frank, upon Eisenstein, but Harvey also then opens up musically in the bright rendition of the music given to her, including leading off the ‘Champagne’ song, one of this work’s signature melodies."
CLASSICAL SOURCE, Curtis Rogers, 1st December 2017
"Anna Harvey’s brilliant performance as the bored Prince in a wholly-believable breeches role."
UNDERDOG REVIEWS, Leah Tozer, 18th November 2017
"Anna Harvey makes her WNO debut as the Prince, an in-trousers role that she performs with great effect, showcasing a fabulous voice as she sings “Chacun à son gout”.
REDBRICK, Olivia Boyce, 6th November 2017
"I was impressed by Anna Harvey’s Prince Orlovsky, who for once was not mired in misanthropic melancholy but merely seemed to wish for some properly disinhibited partying. The challenging range and leaps of ‘Ich lade gern mir Gäste ein’ (I love to invite my friends) were negotiated with the same ease that saw Orlovsky throw back the vodka shots and toss the tumblers over his shoulder."
OPERA TODAY, Claire Seymour, 4th November 2017
"Orlovsky…was well acted and sung with vocal aplomb by Anna Harvey with the addition of a pleasing stage presence."
SEEN AND HEARD INTERNATIONAL, Robert J Farr, 2nd November 2017
"Orlofsky, sung by Anna Harvey…warm and committed."
PETERSFIELD POST, Ann Pinhey 26th October 2017
"It was a very strong cast, with Rhian Lois (Adele), Anna Harvey (Prince Orlofsky) and Mark Stone (Rosalinde’s husband) demonstrating their musical prowess."
WHAT’S GOOD TO DO, Jan Dixon, 20th October 2017
"Anna Harvey…a psychologically plausible Orlofsky…attractively animated presence, on stage and vocally."
SEEN AND HEARD INTERNATIONAL, Glyn Pursglove, 14th October 2017
Haydn Creation Mass, Royal Philharmonic Orchestra, October 2017
"Of the quartet of soloists, the mezzo of Anna Harvey stood out, not least for the fervour that she brought to Qui tollis peccata mundi."
BACHTRACK, Alexander Hall, 25th October 2017
La Finta Giardiniera, Ryedale Festival, July 2017
"One of the strongest voices was the mezzo-soprano of Anna Harvey in the tricky trouser role of Ramiro…Her operatic potential is considerable."
OPERA MAGAZINE, Martin Dreyer, October 2017
"Her erstwhile suitor Ramiro has little to do except express the disappointments of rejection but with her warm mezzo, Anna Harvey did this extremely well."
ANTHONY OGUS, Anthony Ogus, July 2017
Eugene Onegin, Verbier Festival, August 2017
"Étonnamment, les meilleurs protagonistes de ce monument musical russe ne sont pas de nationalité russe. Ainsi, en est-il de la convaincante présence vocale de la mezzo-soprano Anna Harvey (Larina)."
"Surprisingly, the best protagonists of this Russian musical monument are not of Russian nationality. Thus, there is the convincing vocal presence of mezzo-soprano Anna Harvey (Larina)."
RESMUSICA, Jacques Schmitt, 12th August 2017
Elektra, Verbier Festival, July 2017
"The maids, the surrounding cast of supporting characters, perform their roles with ease and taste…From the women in their harmonious dresses – brown through various states of green to black – shows their choral function both as unit and individuals. No names, but clear dramatic identities."
OPERA WIRE, Lois Silverstein, 30th July 2017
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
Anna Harvey deserves special praise, who jumped in for this production … with three days notice. The young singer … sang and acted with natural beauty.
DER NEUE MERKER, Christoph Suhre
"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
Haydn Mass in the Time of War / Nelson Mass CD , Royal Philharmonic Orchestra, Released December 2016
"Fine contributions from soloists Grace Davidson and Anna Harvey."
GUARDIAN, Stephen Pritchard, 11th December 2016
“Benedictus” of the Paukenmesse…with Anna Harvey and Ashley Riches adding their delightfully tip-toeing dialogue, turns this into a movement of absolute enchantment…The other soloists make excellent contributions, Anna Harvey in particular, producing the most sumptuous of vocal tones."
MUSICWEB INTERNATIONAL, Marc Rochester, February 2017
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."
OSTTHÜRINGER ZEITUNG KULTUR, Ulrike Kern, 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."
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
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."
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."
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."
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
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."
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."
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."
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.”
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.”
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...”
OBSERVER, Fiona Maddocks, July 2011