"Anna Harvey's performance here is remarkable: not just delivering great arias such as and with clarity, energy and feeling, but also catching the macho swagger..."
Richard Morrison, Times
"Harvey was simply wonderful, and her aria in Cantata No. 11, was the evening\u2019s high point."
New York Times
"Anna Harvey, both uptight and sexy as Popova, sounded impressively ample and seamless."
"The singing was uniformly excellent, with the vocal highlights coming from … most particularly, Anna Harvey’s excellent Cherubino."
"Anna Harvey's gleefully priapic Lapák shone... she revealed a big, bright, characterful mezzo that's surely destined for exciting things."
What’s on Stage
"Anna Harvey stood out among the quartet of soloists with her rich tone and sensitive phrasing."
Tim Ashley, Guardian
"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"
British mezzo Anna Harvey’s roles in 2019/20 at Deutsche Oper am Rhein, where she is a member of the solo ensemble, include Floßhilde Das Rheingold and Götterdämmerung, Hänsel Hänsel und Gretel, Suzuki Madama Butterfly, Tisbe La Cenerentola, Polina / Daphnis Pique Dame, and Das Kind L'enfant et les sortilèges. Outside of the ensemble she returns to the role of Cherubino The Marriage of Figaro with Welsh National Opera, and on the concert platform she sings Vivaldi’s Gloria and Beatus vir in C with the Internationale Bachakademie Stuttgart, Handel’s Messiah with the Orchestre d'Auvergne and Mendelssohn's Die erste Walpurgisnacht with the Duisburger Philharmoniker.
Last season Anna returned to Nevill Holt Opera to sing Hippolyta A Midsummer Night's Dream. She also appeared in concerts of Handel’s Messiah with the Zurich Chamber Orchestra, and with the Royal Philharmonic Orchestra at the Royal Albert Hall, Mozart’s Mass in C minor with the Dortmunder Philharmoniker, and sang Purcell’s Dido & Aeneas with the London Philharmonic Orchestra. In September 2017 she won the Oratorio and Audience Prizes at the Grand Final of the International Vocal Competition ‘s-Hertogenbosch.
In 2017/18, operatic engagements included Orlofsky Die Fledermaus and cover Octavian Der Rosenkavalier at Welsh National Opera, where she is an Associate Artist and recipient of the Chris Ball Bursary, Ramiro La finta giardiniera at the Ryedale Festival, Cherubino Le nozze di Figaro for Nevill Holt Opera, and Nerone L’incoronazione di Poppea for Longborough Festival Opera.
Anna studied on the opera course at the Royal Academy of Music under Elizabeth Ritchie and Iain Ledingham, graduating with the Alumni Development Award for a singularly distinguished studentship. She is the recipient of numerous prizes, including the London Bach Society Bach Singers Prize in 2015 and a Leonard Ingrams Foundation Award from Garsington Opera in 2014. At the Royal Academy of Music she was awarded the English and Russian Song Prizes and the Fordyce and Dame Kiri Te Kanawa Scholarships.
This biography is for information only and should not be reproduced.
A Midsummer Night’s Dream (Hippolyta), Nevill Holt Opera
Padraic Rowan and Anna Harvey are much more than ciphers, vocally, as Theseus and Hippolyta.
Hugh Canning, The Times
Dido & Aeneas (2nd Witch), London Philharmonic Orchestra
Royal Festival Hall (January 2019)
…the two witches who were deliciously malicious, with strong accurate singing from all three, notably Anna Harvey.
Mark Thomas, Bachtrack*****
Lili Boulanger Psalm 130 "Du fond de l'abime", Three Choirs Festival
Hereford Cathedral (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.
Simon Cummings, bachtrack*****
L’incoronazione di Poppea (Nerone)
Longborough Festival Opera (July 2018)
As Nerone, Anna Harvey’s exceptionally full and developed mezzo-soprano
Sam Smith, MusicOMH****
“Anna Harvey’s Nerone is crisp and exact
Curtis Rogers, Classical Source
…every member of the 16-strong cast gave great performances, particularly the British mezzo-soprano Anna Harvey as Nerone
Chris Smith, Stratford Herald
Le Nozze di Figaro (Cherubino)
Nevill Holt Opera (June 2018)
Anna Harvey’s beautifully sung Cherubino
Richard Morrison, The Times
Anna Harvey … made an endearing Cherubino
Rupert Christiansen, The Telegraph****
Mezzo Anna Harvey’s Cherubino had the right hormonal charge underpinned by some sensitive and beautiful (if resolutely female-sounding) singing.
Augustin Blanco-Bazan, Opera Now
Anna Harvey’s Cherubino was ideally quick-witted and a little ludicrous and she sang with endearing freshness and vocal dexterity
Nigel Simeone, Opera Magazine
Mezzo Anna Harvey offers a pleasingly sung account of the male role of Cherubino
George Hall, The Stage****
Anna Harvey … is splendid, with her performance of ‘Voi che sapete’ being particularly fine.
Sam Smith, MusicOMH****
New Year’s Eve concert, Arcangelo
Wigmore Hall (December 2017)
Alto Anna Harvey contributed a lovely, well-modulated 'Qui sedes'
Robert Hugill, Planet Hugill
Die Fledermaus (Prince Orlovsky)
Welsh National Opera (November 2017)
As Orlovsky, were his antecedents an intended link with the Russian season I wondered, was well acted and sung with vocal aplomb by Anna Harvey with the addition of a pleasing stage presence.”
Robert J Farr, Seen and Heard International
Emma Carrington and Anna Harvey. They even look a lot like one another, from midway back in the stalls at any rate – both sing well, both create a psychologically plausible Orlovsky. Both are attractively animated presences, on stage and vocally.
Glyn Pursglove, Seen and Heard International
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”
Olivia Boyce, Redbrick
Haydn Creation Mass, Royal Philharmonic Orchestra
Cadogan Hall (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.
Alexander Hall, Bachtrack
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.
Christoph Suhre, Der Neue Merker
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.
Boris Gruhl, Dresdner Neueste Nachrichten
Their leader is Goffredo, who is sung impressively and played with parodic irony by Anna Harvey.
Jens Daniel Schubert, Sächsische Zeitung
Anna Harvey (Goffredo) and Jud Perry (Eustazio) complete the ensemble on a classy level.
Joachim Weise, Online Merker
Landestheater Altenburg (November 2016)
A lovely staging... entirely lived out 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
Le nozze di Figaro (Cherubino)
Longborough Festival Opera (June 2016)
The singing was uniformly excellent, with the vocal highlights coming from … most particularly, Anna Harvey’s excellent Cherubino.
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.
A mellifluous mezzo-soprano who commanded attention whenever she appeared on stage
Anna Harvey reveals a beautiful and rich mezzo-soprano as Cherubino
…the dynamic, restless character of Anna Harvey’s Cherubino… she captured the lovable roguishness of the part with enjoyable flair
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
Anna Harvey Recital Repertoire Excerpts
Zwei Gesänge for Alto, Viola and Piano
A Charm of Lullabies
Siete Canciones populares Españoles
Seven Shakespeare Songs
Let Us Garlands Bring
La Courte Paille
Frauenliebe und –leben
Drei Lieder nach Gedichten von Otto Julius Bierbaum
|* Role prepared but not performed|
Anna Harvey Concert Repertoire
Mass in C
Les nuits d’été
Abraham and Isaac
Arianna a Naxos
The Diary of One Who Disappeared
Passions-Oratorium (UK premiere)
Das Lied von der Erde
Die erste Walpurgisnacht*
Petite Messe Solenelle
The Last Judgement
Anna Harvey Opera Repertoire
Kay (Die Schneekönigin)
Jean (The Choker, world première)
Béatrice (Béatrice et Bénédict)
Hippolyta (A Midsummer Night’s Dream)
Diana (La Calisto)
Fidalma (Il matrimonio segreto)
Mary (Daughter of the Sea, world première)
Hänsel (Hänsel und Gretel)
Lapak the Dog (The Cunning Little Vixen)
Serafin (Figaro Gets a Divorce)
Annio (La Clemenza di Tito, concert version)
La Grosse Dame (Les Mamelles de Tirésias)
Suzuki (Madama Butterfly)
Enfant / Das Eichhörnchen (L’Enfant et les sortilèges)
Angelina / Tisbe (La Cenerentola)
Ludmila (The Bartered Bride)
Dryade (Ariadne auf Naxos)
Die weiße Katze (Petrushka)
Queen of the Fairies (Iolanthe)
Black Bile (The Anatomy of Melancholy)
Larina / Olga (Eugene Onegin)
Astron (The Ice Break)
Flora Bervoix (La Traviata)
Flosshilde (Das Rheingold / Götterdämmerung)
Popova (The Bear)
The Consolations of Scholarship
|* Role prepared but not performed|