Mhairi Lawson is represented by Rayfield Allied worldwide.

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Mhairi Lawson


  • …true Handelian style surfaces in the voice of Mhairi Lawson…
    Hilary Finch, The Times
  • soprano Mhairi Lawson proves as unfailingly beautiful in tone as she is neat in execution.
    George Hall, BBC Music Magazine
  • …a crystal stream of pure, limpid soprano sound…
    Hugh Canning, The Sunday Times
  • As a soloist Mhairi Lawson 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 performances of Haydn’s Creation with the Orquesta Sinfónica de Galicia, Bach’s St Matthew Passion with the St Paul Chamber Orchestra, The Fairy Queen with the Academy of Ancient Music, the title role in Semele with the City of Birmingham Symphony Orchestra, Angelos in Handel’s La Resurrezione with the Early Opera Company at Wigmore Hall, Pergolesi’s Stabat Mater with the Hanover Band, a tour to Mexico of music by Purcell with the Dunedin Consort, Handel’s Messiah with the Wrocław Baroque Orchestra and with the Dunedin Consort, Bach’s Magnificat with the Scottish Chamber Orchestra, a residency at the Carmel Bach Festival in the USA, and Mhairi continues her recital collaboration with Eugene Asti.

    • Handel Semele (title)
      CBSO / Egarr, Symphony Hall, Birmingham (January 2017)

      In the title role, Mhairi Lawson soared like a morning lark through these emotional thunderstorms, delivering her solo numbers with celestial tone.
      Rebecca Franks, The Times
    • Handel Messiah, Dunedin Consort
      Kings Place, London (December 2016)

      Lawson’s Rejoice Greatly, taken at a tremendous lick, was very virtuoso; I Know That My Redeemer Liveth was grandly assertive.
      Tim Ashley, The Guardian
    • Cryptic, Fantasy and Madness, Dunedin Consort
      Assembly Roxy, Edinburgh (October 2016)

      Singers Mhairi Lawson and Matthew Brook – both ruddy-cheeked and grinning suggestively – gave brilliantly vivid performances, full of vocal theatrics, savouring every word for its dramatic potential. Lawson’s tearjerking Plaint from Purcell’s The Fairy Queen was as heartbreaking as it was exquisite.
      David Kettle The Scotsman
    • Handel Apollo e Dafne, Ensemble Maryas
      Linn Records CKD 543 (October 2016)

      [Lawson’s] exquisite entrance aria, ‘Felicissima quest’alma’, barely touches the ground, so lightly spun are its phrases.
      Alexandra Coghlan, Gramophone
      The heroic bluster of ‘Spezza l’arco’ beautifully sets up Dafne’s oboe-gilded first number which is exquisitely shaped by Mhairi Lawson (no wonder Apollo is smitten).
      Paul Rily, BBC Music Magazine
      Mhairi Lawson, as Dafne, and Callum Thorpe, as Apollo, are in complete command of all this glorious music, and bring it to life with enormous dramatic energy, ably partnered by Ensemble Marsyas’s superb playing.
      Alastair Harper, Early Music Review
      I find Mhairi Lawson ideal as Dafne; she has caught the measure of the expressive qualities required and is also able to articulate the somewhat fragile nature of Daphne's plight. All this is contrasted with her determination and with a variety of vocal colours.
      Gary Higginson, MusicWeb International
    • Purcell The Fairy Queen, Academy of Ancient Music
      Barbican, London (October 2016)

      Unforgettable in the last act was Lawson’s appearance as Juno, vogueing in a tricorn hat, while singing in top form. She captured perfectly the joy of this extraordinary, bizarre entertainment.
      Cary Gee, Tribune
    • Idomeneo (Elettra)
      Carmel Bach Festival (July 2016)

      Lawson, making her stunning festival debut this summer, electrified as the seething, jealous Elettra.
      Barbara Rose Shuler, Monterey Herald
    • Handel Messiah
      Wrocław Baroque Orchestra, Göttingen International Handel Festival (May 2016)

      The soloists, too, contributed wonderfully to the proceedings: Mhairi Lawson a graceful and vibrant soprano…roaring applause for all involved.
      Georg Pepl, Hessiche Niedersächsische Allgemeine
      The highlight of the evening was the soloists. The women in particular were ravishing. Mhairi Lawson sang the coloraturas light as a feather and with a dynamic range from forte down to a delicate pianissimo.
      Maria Widemann, Kulturbüro Göttingen
      Among the quartet of soloists Mhairi Lawson shone with light, effortless top notes and floaty coloraturas.
      Michael Schäfer, Goettinger Tageblatt
    • Bach St Matthew Passion
      St Paul Chamber Orchestra, Ordway Concert Hall (October 2015)

      The others, all of whom contributed mightily, were Mhairi Lawson, Anna Dennis, Helen Charlston, Nick Pritchard and Matthew Brook.
      Michael Anthony, Star Tribune
    • Purcell King Arthur, Early Opera Company / Curnyn
      Wigmore Hall, London (February 2015)

      Sopranos Joélle Harvey and Mhairi Lawson duetted ravishingly as sirens out to waylay the unsuspecting Arthur…The whole thing was a classy entertainment, and hugely enjoyable.
      Tim Ashley, The Guardian
      Act two saw Mhairi Lawson as a vividly characterful and finely sung Philomel. Throughout the evening Lawson showed skill at combining immense charm, vivid and rather wicked sense of characterisation whilst never distorting the musical line.
      Robert Hugill,
    • Handel Messiah, Dunedin Consort
      St John’s Kirk, Perth (December 2014)

      Soprano Mhairi Lawson added unshowy, effortless glamour.
      Kate Molleson, The Guardian
      Mhairi Lawson’s “Rejoice” was effortlessly exhilarating, her performance in general one of engaging affection.
      Ken Walton, The Scotsman
    • Handel Messiah, Royal Northern Sinfonia / McCreesh
      The Sage Gateshead (December 2014)

      Lawson’s light, agile voice was perfect for the ecstatic soprano arias: “Rejoice greatly” exuded pure, uncomplicated happiness and “I know that my Redeemer liveth” was quietly serene, and sung with a smile.
      Jane Shuttleworth,
      Each soloist – soprano Juliet Bauer, countertenor James Laing, vigorous tenor Samuel Boden and robust bass Ben Bevan – was given a moment to shine by the composer. The soprano air, Rejoice Greatly, O Daughter of Sion, was a model of precision.
      Rob Barnes, The Journal
    • Schubert’s Abendröte Cycle
      Oxford Lieder Festival

      He shared the “Abendröte” (Sunset) cycle with soprano Mhairi Lawson, well-known for outstanding work in early opera and the Italian Baroque. She has a real talent for the intimate scale of Lieder – always engaging with wit and charm. Lawson knows every part of every note and word not just the general phrase and she really does “tell the story” contrasting the skittishness of “Die Vögel; ” with the exquisite stillness of “Das Mädchen “. Both singers demonstrated great stagecraft, a quality not always evident in lieder recitals, and closed the evening with the slightly sentimental duet “Licht und Liebe”.
      Cary Gee, Tribune
    • 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,
      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,
      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,
    • 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

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

    Mhairi Lawson’s Operatic Repertoire

    • Il Nascimento dell’Aurora (Zeffiro)
    • La Didone (Cassandra, Junone)
    • Actæon (Junone, Diane)
    • La descent d’Orphée aux enfers (Daphne, Proserpine)
    • David et Jonathas (Premier Berger)
    • 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)
    • Antonio e Cleopatra (Cleopatra)
    • Il Sant’Alessio (Curtio)
    • The Consul (Anna Gomez)
    • L'Orfeo (la Musica, Speranza, Proserpina)
    • L'Incoronazione di Poppea (Drusilla)
    • La serva padrona (Serpina)
    • Dialogues of the Carmelites (Madame Lidoine)
    • Suor Angelica (Genevieve)
    • Gianni Schicchi (Nella)
    • Indian Queen (God of Dreams)
    • Fairy Queen (All female roles)
    • King Arthur (All female roles)
    • Dido and Aeneas (All female roles)
    • La gloria di Primavera (Primavera)
    • Iolanthe (Phyllis)
    • HMS Pinafore (Josephine)
    • La fida ninfa (Morasto)
    • Giustino (Arianna)
    • Tito Manlio (Lucio)
    • La Senna Festeggiante (L’Età dell’Oro)
    • Threepenny Opera (Polly)
  • Photos

    • photographer credit: Katie Glastonbury
      photographer credit: Katie Glastonbury
    • photographer credit: Katie Glastonbury
      photographer credit: Katie Glastonbury
    • photographer credit: Ricardo Alcaide
      photographer credit: Ricardo Alcaide