Claire Lees portrayed the sassy but fickle Adina, her sound bright, her phrasing graceful.
Rian Evans, The Guardian, September 2019
Adina (Claire Lees). In dungarees and a silk bandana, she makes light work of Donizetti’s rapid passages and top notes,
Amanda Holloway, The Stage, September 2019
Lees hails from the Guildhall School of Music & Drama with a vocal breadth and delivery that comes very close to stealing the show, nor is she any less proficient at acting. Country house operas are all about star-spotting and you don’t need a telescope for this one.
Rebecca Lipkin, Arbuturian, September 2019
Claire Lees was a wonderfully sparky Oscar...........Lees was beautifully effortless in her coloratura whilst combining this with an impressive physicality.
Robert Hugill, Planet Hugill, June 2019
Claire Lees as the ever-perky page boy combined pearly tone with sufficient
thrust to lead a big ensemble.
Yehuda Shapiro, Opera Magazine, June 2019
Oscar was a bouncy bright-voiced Claire Lees
David Buchler, Opera Spy, June 2019
Claire Lees crystal clear soprano has bags of power and sparkles at the top
Anthony Evans, Planet Hugill, October 2018
Claire Lees captured Sister Constance’s gaiety and unpretentious spiritual vision.
Claire Seymour, Opera Today, February 2018
Claire Lees is ideal casting as Sister Constance........getting to the core of Constance’s simple religious convictions.
Peter Reed, Classical Source, February 2018
Claire Lees is the discovery of the evening.....Lees has wonderful pluck and dignity, looks like a young Julianne Moore and manages all the difficult phrases, above all in Pamina's lament, to radiant perfection.......she'll make a radiant Sophie in Der Rosenkavalier and her Pamina would already grace any stage.
David Nice, The Art's Desk, July 2016
Claire Lees' superb Pamina is both girlish and gutsy, her soprano supple, smooth and clean in a performance which does not falter or hesitate.
Charlotte Valori, Bachtrack, July 2016