Some fine singing of the arias too, with Elinor Rolfe Johnson seraphic in ‘Zerfliesse, mein Herze’
Rupert Christiansen, The Telegraph
There are moments of beauty —…Elinor Rolfe-Johnson’s luminous ‘Zerfliesse, mein Herze’
Alexandra Coghlan, The Spectator
Rolfe Johnson has a lovely presence and platform manner and...movingly characterised the long introduction to the aria. Her voice is very beautiful …she brought beauty of tone and well delineated, easy runs…a lovely singer and performer.
Sebastian Petit, Opera Britannia
Pick of the singers was Elinor Rolfe Johnson...Rolfe Johnson’s voice had the quality of soaring above the other singers, apparently effortlessly, and cutting through the wash of the lower registers, all the while perfectly weighted and without a hint of harshness. It's a voice that I'm sure I'll be hearing more of.
David Karlin, Bachtrack
Elinor Rolfe Johnson…[has a] creamy middle register and musical turn of phrase.
Rupert Christiansen, Telegraph
A commanding stage presence and the voice to match
Seen & Heard International
The singing was superb…a glorious Susanna from Elinor Rolfe Johnson.
Michael White, The Catholic Herald
The fine Tytania of Elinor Rolfe Johnson…negotiated the vocal ornamentation easily, but also, when the voice dropped to the lowest part of the range ("Oh, how I dote on thee", in Act 2, particularly) she retained a vibrant warmth, even a throb of seduction, with no loss of power or precision. At once fragile and steely, this was a Tytania well worth hearing.
Row B seat 87 blogspot
Elinor Rolfe Johnson made a very demure Fiordiligi, masking a very strong technique with a seeming fragility…Come scoglio was far more than a showpiece aria, being a dramatically vital part of Rolfe Johnson's performance.
Planet Hugill - A world of Classical music
Undoubtedly from the top drawer...All in all this was a very intelligently designed and beautifully executed entertainment whose many layers of music and feeling stayed with the listener, continuing to stimulate emotions and thoughts well after the final chord had died away.
Howard Duthie, Strathearn Music Society
Soprano and Royal Conservatory of Scotland graduate, Elinor Rolfe Johnson, gives Rosalinda an unconventional level of emotional maturity, maintaining a grip on the woman’s dignity and almost provoking sympathy
Francesca Wickers, Fringe Opera
A beautiful sound.
David Gann, The Public Reviews
Rolfe Johnson’s “Porgi amor” shimmers with passion, and her “E Susanna non vien!” is stunning.
Charlotte Valori, Bachtrack