Mhairi Lawson is represented by Rayfield Allied worldwide.

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Mhairi Lawson

Soprano

  • soprano Mhairi Lawson proves as unfailingly beautiful in tone as she is neat in execution.
    George Hall, BBC Music Magazine
  • …true Handelian style surfaces in the voice of Mhairi Lawson…
    Hilary Finch, The Times
  • …a crystal stream of pure, limpid soprano sound…
    Hugh Canning, The Sunday Times
  • As a soloist Mhairi has performed in opera houses and concert halls worldwide including English National Opera, Les Arts Florissants, The Gabrieli Consort and The Scottish Chamber Orchestra, and with leading conductors such as William Christie, Sir Charles Mackerras, Paul McCreesh, Jane Glover and Sir John Eliot Gardiner.

    Recent and future highlights include Galatea in Handel’s Acis and Galatea in London’s Wigmore Hall and Iphis Jephtha in Paris and London with Paul McCreesh and the Gabrieli Consort, Dorinda Orlando with Christian Curnyn at the Buxton Festival and Handel’s Messiah on a European tour with Richard Egarr and the Academy of Ancient Music.

    • Recital at the Spitalfields Festival
      London (June 2014)

      Things could only get better, and they did. At 6.30pm a lucky few who had tickets assembled at an address down a back street, which turned out to be the large and deeply eccentric house of a long-standing friend of the Festival. There we heard a concert of Baroque song from England and Italy, together with some of the Scots songs collected by Robert Burns. They were sung with engaging vigour and grace by Mhairi Lawson, ably partnered by Christian Curmyn at the harpsichord. It was a delight.
      Ivan Hewett, The Telegraph
    • Bach St Matthew Passion, Royal Northern Sinfonia / Zehetmair
      The Sage Gateshead (April 2014)

      Mhairi Lawson was equally outstanding in the soprano arias.
      Alfred Hicking, The Guardian
      Soprano Mhairi Lawson’s “Blute nur” was full of emotion, sighing in anguish against the pulsing flow of the accompanying flutes and strings, and her “Aus Liebe” was touching in its innocence, surrounded by a protective cocoon of wind instruments, led by the expressive flute of Juliette Bausor. Lawson and countertenor Christopher Ainslie blended wonderfully in their duet “So ist mein Jesus nun gefangen”, their twisting lines dripping with woe.
      Jane Shuttleworth, bachtrack.com
      Soprano Mhairi Lawson's voice had a ringing clarity and soared to the heavens in Blute nur.
      Gavin Engelbrecht, The Northern Echo
    • Handel Messiah, City of Bath Bach Choir
      Bath Abbey (March 2014)

      Mhairi Lawson’s soprano was very fine: I enjoyed Rejoice Greatly, immaculately phrased and paced.
      Lloyd Williams, The Bath Chronicle
    • York Baroque Soloists
      York Early Music Festival, York Minster (July 2013)

      Here the shining exemplar of his coloratura writing was the soprano Mhairi Lawson. Her infectious smile was reflected in her glowing tone, particularly in the tour de force of Saeviat Tellus (Let the earth rage).
      Martin Dreyer, The York Press
      Mhairi Lawson’s florid division, diction and charismatic delivery were flawless.
      David Vickers, Early Music Review
    • Handel Esther (Esther), Dunedin Consort
      Wigmore Hall, London (April 2013)

      Mhairi Lawson’s lucid soprano gave Esther's persuasive powers clarity and purpose.
      George Hall, The Guardian
      The character of Esther herself has to wait until the second act before taking the stage. Soprano Mhairi Lawson was the perfect choice, shaping phrases intelligently and becomingly; her diction throughout was exemplary – particularly noteworthy in the final act’s “O gracious King, my people spare.
      Colin Clarke, Seen and Heard International
    • Venice By Night (Avie AV 2257)
      La Serenissima, Adrian Chandler (dir)

      …sensuous vocal accompaniment provided by Mhairi Lawson.
      Early Music Today
    • Vivaldi L’Olimpiade, Lufthansa Festival of Baroque Music (May 2012)
      St. John's, Smith Square, London

      But it was soprano Mhairi Lawson as Aminta who stole the show, demonstrating a flawless technique throughout, and dispatching the fiendishly difficult “Siam navi all’onde algenti” with effortless style.
      Laura Battle, The Financial Times
    • Sir Charles Mackerras Memorial Concert
      Royal Festival Hall (November 2010)

      Mhairi Lawson (replacing an indisposed Rebecca Evans) was as sensitive in 'How beautiful are the feet' from Messiah as she was deft in 'Let the bright seraphim' from Samson.
      Richard Whitehouse, Classicalsource.com
      Lawson, if a little soft-grained, was throughout exactly the kind of musicianly, personable singer Mackerras adored
      David Nice, The Arts Desk
    • Haydn The Creation, Gabrieli Consort/McCreesh, Swansea Festival
      (October 2009)

      Mhairi Lawson was full of vocal vitality and elegance, the sound of her voice rising above the whole ensemble striking and the intimacy of address in her work as Eve a particular pleasure.
      Glyn Pursglove, Seen and Heard
    • Handel Jephtha, Gabrieli Consort/McCreesh, Barbican Hall London
      (July 2009)

      I’ll also remember Jephtha’s daughter, Mhairi Lawson’s clear-voiced Iphis – light as a fairy in Tune the soft melodious flute, touchingly fragile minutes later after accepting her lot as a sacrificial offering.
      Geoff Brown, The Times
      Mhairi Lawson (Iphis) is a great communicator, charmingly seductive but also disciplined and tasteful. She told the story with suitable pure voice, lovely tone-colour changes, facial expressions …
      Agnes Kory, Musicalcriticism.com
    • Handel Acis and Galatea, Gabrieli Consort/McCreesh, Wigmore Hall London
      (February 2009)

      …hers was the very epitome of sweet English song.
      Hilary Finch, The Times
      …Mhairi Lawson and James Gilchrist making an ecstatic pair of lovers…
      Tim Ashley, The Guardian
  • Mhairi Lawson’s Concert Repertoire

    Bach
    • B minor Mass
    • Christmas Oratorio
    • Easter Oratorio
    • Cantata 51 ‘Jauchtzet Gott’
    • Passions of St John and St Matthew
    • Magnificat
    CPE Bach
    • Magnificat
    Brahms
    • Ein Deutsches Requiem
    Dvorak
    • Stabat Mater
    Fauré
    • Requiem
    Handel
    • Messiah
    • Solomon
    • Jephtha
    • Joshua
    • Deborah
    • Athalia
    • Samson
    Haydn
    • The Creation
    • Harmoniemesse
    Mendelssohn
    • Elijah
    Mozart
    • Requiem
    • C Minor Mass
    • Davide Penitente
    • Mass in C KV317
    • Vespers KV339
    • Exsultate Jubilate
    Pergolesi
    • Stabat Mater
    Orff
    • Carmina Burana
    Vivaldi
    • Gloria and Introduzione
    • Various Motets, including ‘Nulla in mundo pax sincera’

    Mhairi Lawson’s Operatic Repertoire

    Albinoni
    • Il Nascimento dell’Aurora (Zeffiro)
    Cavalli
    • La Didone (Cassandra, Junone)
    Charpentier
    • Actæon (Junone, Diane)
    • La descent d’Orphée aux enfers (Daphne, Proserpine)
    • David et Jonathas (Premier Berger)
    Handel
    • Agrippina (Nerone)
    • Alcina (Morgana)
    • Ariodante (Ginevra)
    • Xerxes (Atalanta, Romilda)
    • Giulio Cesare (Cleopatra)
    • Hercules (Їole)
    • Acis and Galatea (Galatea)
    • Aci, Galatée e Polifemo (Aci)
    • Saul (Michal)
    • Semele (Semele)
    • Clori, Tirsi e Fileno (Tirsi)
    Hasse
    • Antonio e Cleopatra (Cleopatra)
    Landi
    • Il Sant’Alessio (Curtio)
    Menotti
    • The Consul (Anna Gomez)
    Monteverdi
    • L'Orfeo (la Musica, Speranza, Proserpina)
    • L'Incoronazione di Poppea (Drusilla)
    Pergolesi
    • La serva padrona (Serpina)
    Poulenc
    • Dialogues of the Carmelites (Madame Lidoine)
    Puccini
    • Suor Angelica (Genevieve)
    • Gianni Schicchi (Nella)
    Purcell
    • Indian Queen (God of Dreams)
    • Fairy Queen (All female roles)
    • King Arthur (All female roles)
    • Dido and Aeneas (All female roles)
    Scarlatti
    • La gloria di Primavera (Primavera)
    Sullivan
    • Iolanthe (Phyllis)
    • HMS Pinafore (Josephine)
    Vivaldi
    • La fida ninfa (Morasto)
    • Giustino (Arianna)
    • Tito Manlio (Lucio)
    • La Senna Festeggiante (L’Età dell’Oro)
    Weill
    • Threepenny Opera (Polly)
  • Photos

    • photographer credit: Ricardo Alcaide
      photographer credit: Ricardo Alcaide
    • photographer credit: Ricardo Alcaide
      photographer credit: Ricardo Alcaide
    • photographer credit: Ricardo Alcaide
      photographer credit: Ricardo Alcaide