British mezzo Anna Harvey is the winner of the First Prize (Prix Pierre Verne) in the 2022 Paris Opera Competition. This season, she sings the roles of Suzuki Madama Butterfly, Zweite Dame Die Zauberflöte, Octavian Der Rosenkavalier, Olga Eugene Onegin, Mary Der fliegende Holländer, and Blumenmädchen Parsifal at Deutsche Oper am Rhein, where she is a member of the solo ensemble. Other recent roles include Hänsel Hänsel und Gretel, Prinz Orlofsky Die Fledermaus, Meg Page Falstaff, Brigitta Die Tote Stadt, Annio La clemenza di Tito, Varvara Káťa Kabanová, Flosshilde Das Rheingold and Götterdämmerung, Siegrune Die Walküre, Polina/Daphnis Pique Dame, The Child L’enfant et les sortilèges, Bejlia Weinberg’s Mazeltov, and Flora La Traviata.
Recent concert engagements include Mozart’s Vesperae solennes de Dominica and Coronation Mass with the Gaechinger Cantorey, Handel’s Messiah at the Royal Festival Hall, Wagner’s Wesendonck Lieder with Orchestre de Picardie, Dvorak’s Mass in D at Winchester Cathedral, Mahler’s Symphony No.2 in her hometown of Sheffield, and Flosshilde/Erda Das Rheingold with Orchestra of the Music Makers in Singapore.
A keen recitalist, Anna has performed solo recitals at venues including the Wigmore Hall, Holywell Music Room, Kettle’s Yard, Garrick Club, and St George’s, Hanover Square, and was a finalist at the 2019 DAS LIED competition. Her disc of Songs by Warlock and Howe was released on Rubicon in 2022.
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 Oratorio and Audience Prizes at the Grand Final of the International Vocal Competition ‘s-Hertogenbosch in 2017, 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.
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Die Tote Stadt (Brigitta), Deutsche Oper am Rhein
Opernhaus Düsseldorf (April 2023)
Anna Harvey, with a dark-timbred mezzo, the unusually interesting housekeeper Brigitta.
Judith von Sternburg, Frankfurter Rundschau
The most beautiful vocal moments of this evening, however, came from Anna Harvey as Paul’s housekeeper: a wonderful mezzo with groundedness, mystery and warmth.
Wolfram Goertz, Rheinische Post
Anna Harvey acts as his faithful housekeeper Brigitta, who makes a tremendous vocal impression with her short appearances.
Joachim Lange, Klassikinfo.de
Brigitta, his housekeeper… who is performed in an engaging and confident way by mezzo-soprano Anna Harvey.
Dr. Ralf Siepmann, Opera Online
Almost more interesting than this character is the housekeeper Brigitta, portrayed as a young girl by Anna Harvey with a beautiful voice.
Stefan Schmöe, Online Musik Magazin
Anna Harvey is a touching Brigitta.
Michael Kaminski, Concerti
Anna Harvey’s full-blooded Brigitta...
Eleanor Knight, Bachtrack
Anna Harvey possesses a mezzo-soprano voice that is stimulating in the lower range, lively, charming, and powerful in the higher register.
Ingrid Freiberg, IOCO Kultur im Netz
CD: Songs by Warlock and Howe, Rubicon RCD1095
(July 2022)
Harvey's bright, characterful mezzo and easy, unaffected way with text give constant pleasure in this lovely recital showcasing the breadth of Warlock's style, from the almost Straussian 'Autumn Twilight' to the salty dark humour of 'The Magpie' (later reworked as the rather less salacious 'Yarmouth Fair' due to copyright restrictions).
Katherine Cooper, Presto Music
Káťa Kabanová (Varvara), Deutsche Oper am Rhein
Theater Duisburg (March 2022)
[Anna Harvey] as Varvara is more than a match for her [Katja] in all regards.
Guido Krawinkel, Neue Musikzeitung
Anna Harvey sculpts the character with a youthful, radiant soprano [sic] voice… She embodies the optimistic model: escape is possible, which deviates significantly from the conventional (and the traditional operatic) reading, where Varvara is the light-footed but also superficial, while Katja is the profound and therefore tragic female character.
Stefan Schmöe, Online Musik Magazin
Anna Harvey is the wonderfully sensitive, caring friend Varvara.
Ursula Decker-Bönniger, Klassik.com
At her side is Anna Harvey as the foster daughter Varvara, a young mezzo-soprano who perfectly plays the role with a youthful lightness, and vocally becomes the star of the evening.
Markus Lamers, Der Opernfreund
We are also in luck when it comes to the singers…(Varvara), very beautifully sung by Anna Harvey.
Wolfram Goertz, Rheinische Post
Anna Harvey enthralled me with her effortlessness and honesty throughout the entire performance.
Dagmar Ohlwein, Opernscouts
Also superb are the future-oriented couple of Anna Harvey as Varvara and Cornel Frey as the teacher Kudrjasch.
Pedro Obiera, waz.de
Katja herself is perfectly cast with soprano Sylvia Hamvasi, Anna Harvey as Varvara is her equal. Two "strong women" in the piece with two equally strong and beautiful voices.
Isabel Fedrizzi, Opernscouts
Musically, the production also leaves nothing to be desired. Right down to the smallest role, everything is virtually optimally cast. Vivacious and looking for a way out, Anna Harvey as Varvara brings moments of happiness into the action.
Thomas Hilgemeier, Theater Pur
But the performance has a lot to offer in terms of singer-actors…Anna Harvey is openly risqué and love-crazed as the adoptive daughter Varvara, who lives out her sexual adventures with the teacher Kudrajasch (Cornel Frey).
Michael-Geroge Müller, Westdeutsche Zeitung
Paris Opera Competition, Palais Garnier
(January 2022)
Anna Harvey dared to take risks with Sesto from La Clemenza di Tito...the young artist seems to win all the votes with her strong stage presence in Hänsel und Gretel and in Der Rosenkavalier as Octavian.
Brigitte Maroillat, Forum Opera
This year nine candidates were selected and deciding between them was not easy for the jury as their level was high. In the running were the English mezzo-soprano Anna Harvey who won the first prize.
François Delétraz, Le Figaro
This emphasis on the link between singing and playing (and the balance among the jury of voice and theater connoisseurs) probably explains why the 1st Prize goes to Anna Harvey. The mezzo-soprano from the United Kingdom combines with the most homogeneity the vocal and scenic dimensions of “Parto, Parto”…She plays and sings all the intentions of her text, with accents in the middle-range, well-negotiated rises towards the treble.
Charles Arden, Olyrix
With Sesto's aria "Parto parto ma tu ben moi", Mozart finds a natural interpreter. The mezzo already has a serious job and a good vocal technique…the trio of Rosenkavalier by Richard Strauss (with Serena Saenz Molinero and Anna Harvey) is one of the most beautiful moments of the evening…The big winner of the evening is Anna Harvey, winner of the 2022 Pierre Vernes Prize from the Paris Opera Competition.
Hugues Rameau-Crays, Classique
Bach Cantatas, Gabrieli Consort & Players
(December 2021)
Even more stylish was mezzo Anna Harvey with her dark alto register in the fluid, expectant „In Jesu Demut kann ich Trost“, accompanied by the charming gracefulness of Christopher Palametas’ Oboe d’amore…Pierce and Harvey complemented each other in their elegant and serious “Domine Deus”
Jens Klier, Bachtrack
Mezzo-soprano Anna Harvey…and a solo oboe duetted vigorously, in a robust dance, Harvey's warm mellow sound complementing the rich timbre of the oboe…'Domine Deus' was a duet for Rowan Pierce and Anna Harvey, the voices flowing easily over a rhythmic violin line…Followed by a striking slow accompanied recitative, where Anna Harvey's mellow voice was very expressive….A dramatic recitative from Daniel Norman led to a duet between him and Anna Harvey; a piece with a lovely lilt to it sung with joyful enjoyment.
Robert Hugill, Planet Hugill
Both (Rowan Pierce and Anna Harvey) were brilliant in the ‘Domine Deus’ of the ‘Mass in G Major BWV 236’.
Jonathan Mallada Álvarez, La Nueva España
La Clemenza di Tito (Annio), Deutsche Oper am Rhein
Opernhaus Düsseldorf (October 2021)
With Anna Harvey as Annio and Heidi Elisabeth Meier, who make the duet “Ah perdona il primo affetto” the most intense moment of the evening.
RP Online
Above all, the evening in Düsseldorf is saved by the strong female singers…Anna Harvey, in the same voice type, contrasts with a beguiling, melodious melancholy.
Lars von der Gönna, waz.de
Heidi Elisabeth Meier as Servilia and Anna Harvey as Annio also form a strong couple, whose duet "Ah perdona al primo afferto" is one of the highlights of the evening.
Markus Lamers, Der Opernfreund
Mozart at its finest is also offered by mezzo-soprano Anna Harvey as Annio.
Michael-Georg Müller, Westdeutsche Zeitung
Anna Harvey as Annio and Heidi Elisabeth Meier as Servilia also let a lot Mozartian melodiousness be heard.
Pedro Obiera, Aachener Nachrichten
Madama Butterfly (Suzuki)
Welsh National Opera (September 2021)
This heartbreaking self-delusion triggers exasperation and despair in Anna Harvey’s superbly observed Suzuki.
Richard Morrison, The Times****
The balance of the drama is strongly held by Anna Harvey’s totally sympathetic maid Suzuki – a constant warm support for Butterfly, wonderfully sung
Nicholas Kenyon, The Telegraph****
The Suzuki of Anna Harvey was quietly impressive, encompassing well a real range of emotions; she was a clear and firm, almost choric, presence, whether identifying emotionally with Cio-Cio-San or frustrated by her mistress’s refusal to see or acknowledge the truth.
Glyn Pursglove, Seen and Heard International
The duets between Anna Harvey’s mezzo Suzuki and soprano Alexia Voulgaridou’s Cho-Cho-San (alternating performances with Joyce El-Khoury) are the highlight of the show. Their voices blend excellently. Harvey may be the servant, but in this production we are watching a tale of female friendship.
Lucien Jenkins, The Critics Circle
There were outstanding performances in secondary roles too, especially … Anna Harvey as a loyal yet self-aware Suzuki
Mark Valencia, Bachtrack****
I enjoyed…especially Anna Harvey’s Suzuki, a real portrait and musically incisive.
Stephen Walsh, The Arts Desk
Le Nozze di Figaro (Cherubino), Welsh National Opera
(February 2020)
Anna Harvey brought a freshness to her Cherubino and has a clarity of voice that suits the role; her straightly delivered “Voi, che sapete” providing a teasing sweetness that is lost when overdone in a haze of vibrato.
Alice Hughes, Bachtrack****
Cherubino – convincingly sung by mezzo-soprano Anna Harvey
Morning Star Online****
Anna Harvey perfectly captures the character of Cherubino, the wide-eyed, love-struck boy playing the strutting soldier.
Colin Davison, British Theatre Guide
Cherubino, played with allure by Anna Harvey
Steph Power, The Stage****
There are also stand-out performances from Anna Harvey as the cheeky Cherubino…
John Baker, The Wiltshire Gazette and Herald
A Midsummer Night’s Dream (Hippolyta), Nevill Holt Opera
(June 2019)
Padraic Rowan and Anna Harvey are much more than ciphers, vocally, as Theseus and Hippolyta.
Hugh Canning, The Times
Padraic Rowan and Anna Harvey prove extremely accomplished performers
Sam Smith, MusicOMH
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*****
Anna Harvey Recital Repertoire Excerpts
| BRAHMS | Zwei Gesänge for Alto, Viola and Piano |
|---|---|
| BRITTEN | A Charm of Lullabies |
| DE FALLA | Siete Canciones populares Españoles |
| DRING | Seven Shakespeare Songs |
| FINZI | Let Us Garlands Bring |
| POULENC | La Courte Paille |
| SCHUMANN | Frauenliebe und –leben |
| STRAUSS | Drei Lieder nach Gedichten von Otto Julius Bierbaum |
| * Role prepared but not performed |
Anna Harvey Concert Repertoire
| CPE BACH | Magnificat |
|---|---|
| JS BACH | Ascension Oratorio |
| BEETHOVEN | Mass in C |
| BERLIOZ | Les nuits d’été |
| BRAHMS | Alto Rhapsody |
| BRITTEN | Abraham and Isaac |
| DURUFLÉ | Requiem |
| ELGAR | Sea Pictures |
| GRIEG | Orchestral Songs |
| HANDEL | Dixit Dominus |
| HAYDN | Arianna a Naxos |
| JANACEK | The Diary of One Who Disappeared |
| LOEWE | Passions-Oratorium (UK premiere) |
| MAHLER | Das Lied von der Erde |
| MENDELSSOHN | Die erste Walpurgisnacht* |
| MOZART | Domenican Vespers |
| PERGOLESI | Magnificat |
| PROKOFIEV | Alexander Nevsky |
| RESPIGHI | Il tramonto |
| ROSSINI | Petite Messe Solenelle |
| SCHUBERT | Mass D452 |
| SPOHR | The Last Judgement |
| VERDI | Requiem |
| VIVALDI | Gloria |
Anna Harvey Opera Repertoire
| ALBRECHT | Kay (Die Schneekönigin) |
|---|---|
| ALDERSON/EDIS | Jean (The Choker, world première) |
| BERG | Groom/Theatergardrobiere/Gymnasiast (Lulu) |
| BERLIOZ | Béatrice (Béatrice et Bénédict) |
| BRITTEN | Hippolyta (A Midsummer Night’s Dream) |
| CAVALLI | Diana (La Calisto) |
| CIMAROSA | Fidalma (Il matrimonio segreto) |
| CHEW | Mary (Daughter of the Sea, world première) |
| EVERS | Gold! |
| HANDEL | Ariodante (Ariodante) |
| HUMPERDINCK | Hänsel (Hänsel und Gretel) |
| JANACEK | Lapak the Dog (The Cunning Little Vixen) |
| LANGER | Serafin (Figaro Gets a Divorce) |
| MOZART | Annio (La Clemenza di Tito, concert version) |
| POULENC | La Grosse Dame (Les Mamelles de Tirésias) |
| PUCCINI | Suzuki (Madama Butterfly) |
| RAVEL | Enfant / Das Eichhörnchen (L’Enfant et les sortilèges) |
| ROSSINI | Angelina / Tisbe (La Cenerentola) |
| SMETANA | Ludmila (The Bartered Bride) |
| STRAUSS (Johann/Richard) | Dryade (Ariadne auf Naxos) |
| STRAVINSKY | Die weiße Katze (Petrushka) |
| SULLIVAN | Queen of the Fairies (Iolanthe) |
| TASSIE | Black Bile (The Anatomy of Melancholy) |
| TCHAIKOVSKY | Larina / Olga (Eugene Onegin) |
| TIPPETT | Astron (The Ice Break) |
| VERDI | Flora Bervoix (La Traviata) |
| WEBER | Puck (Oberon) |
| WAGNER | Flosshilde (Das Rheingold / Götterdämmerung) |
| WALTON | Popova (The Bear) |
| WEIR | The Consolations of Scholarship |
| * Role prepared but not performed |
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