The Snow Maiden‚ Opera North
The York Press (January 2017)

‘Daisy Brown stepped gallantly into the title role at short notice and won many admirers‚ besides Mizgir. Her light soprano suits the early coloratura‚ and her dying aria is poignant‚ overcoming the wearing of a yellow tabard more apt for coffee-grinding.’

Sister. Born Mad
The Blog of Theatre Things (September 2016)

‘The identically dressed Daisy Brown and Nia Coleman are in perfect harmony throughout – and not just when they’re singing (beautifully)‚ but also in their movements and even the way they speak.’

Sister‚ Born Mad
A Younger Theatre (September 2016)

‘Daisy Brown and Nia Coleman alternate between the different sisters highlighted in this piece. They easily draw in the audience with warm smiles and a teensy bit of bashfulness that speaks to how the play’s subjects must have felt when originally being interviewed for these stories. The anguish‚ worry‚ and anger the two bring to the table later during the show is just as believable and relatable as well‚ and it’s quite easy to feel connected to these two and believe the words they’re speaking are their own…The composer‚ Alex Groves‚ must be commended for the surreal and otherworldly songs he had Brown and Coleman sing and create on stage as they recorded and replayed their stunning voices in front of us.’

Sister‚ Born Mad
Carn’s Theatre Passion (September 2016)

‘Brown‚ Coleman and Groves perform a tour de force of a performance‚ apparently effortlessly synching sound‚ loops‚ samples and live vocals‚ their proficiency speaking of many weeks of rehearsal and development.’

Sister‚ Born Mad
London City Nights (September 2016)

‘…taking the form of an hour long sound collage led by two fantastic performers‚ Daisy Brown and Nia Coleman…Brown and Coleman sing and act in perfect synchronisation‚ every micro-expression and verbal tic replicated exactly. It’s like watching a high-wire act – the slightest wobble and the whole thing falls apart. But the duo never put a foot wrong‚ displaying a faintly unnerving confidence in each other’s abilities and their own I shudder to think how long it must have taken to rehearse a thing like this‚ not to mention the sheer commitment and concentration required to sustain perfection for an hour…This is an experience like little else I’ve seen in theatres of late. It’s sonically‚ visually and textually beautiful; able to make you laugh and feel in equal measure; and Daisy Brown and Nia Coleman’s performance skills are through the goddamn roof. ‘

Queen of Spades, Opera Holland Park, 2016

‘Daisy Brown’s Masha… particularly catching my ear.’ Opera Today (August, 2016)

‘The Pastorale was enchantingly done by Daisy Brown and Laura Woods.’Opera Now (September, 2016) 

‘fine vocal contributions from Laura Woods and Daisy Brown as Polina and Masha.’ Mark Ronan (August, 2016)

‘(Laura Woods) had plenty of fun in the tastefully staged Pastorale along with Daisy Brown’s prettily sung Prilepa. Brown also doubled up as Liza’s maid Masha and led the spirited folk dance.’ Opera Britannica (August, 2016)

Alice’s Adventures in Wonderland, Opera Holland Park, Linbury ROH 2015

‘There is not a weak link in the cast, in terms either of singing or acting… Samantha Price’s and Daisy Brown’s Tweedledee and Tweedledum, show an impressive skill in physical comedy.’ The Stage (Nov, 2015)

Carmen Nevill Holt Opera, 2015 

‘ The small orchestra sound fine under Charmers’s tidy baton and the supporting cast is decent‚ with Daisy Brown’s Frasquita making the strongest impression from the ensemble’ The Times (June 2015)

Le Nozze di Figaro Opera Vera, 2015

‘Daisy Brown was a brilliant Susanna, a bag of sly wit and intelligence’ Robert Thicknesse, Opera Now (April 2015) 

‘…soprano Daisy Brown sweeps onto stage as the maid Susanna and proceeds to thread a piece of cotton straight through the eye of a needle – no mean feat for the steadiest of hands‚ let alone someone embarking on the lead role of a challenging‚ three-hour opera. Her composure sets the tone for this supremely accomplished performance… Daisy Brown is a no-nonsense Susanna‚ confident and coquettish with a warm twinkle in her eye and vocally au fait with Mozart’s pacy Italianate melodies. The chemistry between her and the equally-talented Peter Brooke’s Figaro is endearing’ Fringe Opera (February 2015)

Carmen Mid Wales Opera, 2014

‘Sherman’s blonde Carmen… was well supported by Daisy Brown’s vibrant Frasquita, acting with her eyes as well as her voice’ Opera Magazine (October 2014)

‘Daisy Brown and Marta Fontanals-Simmons presented the roles of Frasquita and Mercedes in this interpretation perfectly’ (October 2014)

‘…there is much to praise in this Carmen…Vocally Marta Fontanals-Simmons (Mercedes) and Daisy Brown (Frasquita) blend beautifully with Helen Sherman (Carmen)’ What’s On (September 2014)

‘The best things in it are intelligent touches in the directing of individual numbers: the card-reading trio (with Daisy Brown and Marta Fontanals-Simmons)’ The Arts (September 2014)

Orfeo ed Euridice Buxton Festival, 2014

‘Amore is entrancingly sung by soprano Daisy Brown’ George Hall, The Guardian (July 2014)

‘Rising star Daisy Brown is impressive as Amore’ Philip Radcliffe, The Arts Desk (July 2014)řák-rarity-gluck-tercentenary

‘Amore is sung with real charm and ping by Daisy Brown’ Hugo Shirley, The Spectator (July 2014)

‘Daisy Brown was a fabulous Amore – a sassy, sexy Cupid who emerges from the chorus as one of Orfeo’s groupies… Brown constantly impressed and she sang “Gli sguardi trattieni” with light, bright tone, whilst merrily scattering Eurydice’s ashes from the urn.’ Mark Pullinger, Bach Track (July 2014)

‘Daisy Brown… proved such a delight as Amore’ Hugh Canning, The Sunday Times (July 2014)

‘Amore… was sung with striking beauty and lovely purity of tone by Daisy Brown’ Mark Ronan (July 2014)

Kiss Me, Figaro! The Merry Opera Company, 2013

‘Brown is a revelation. Her Lascia Ch’io Pianga from Handel’s Rinaldo was delivered in her onstage dressing room with the utmost sincerity and exquisite precision.’ Helena Gumley-Mason, The Lady (February 2014)

‘The credit here goes to Brown who not only has the emotionally hard hitting vocal range but a true naturalism that is so hard to find in the world of opera, not only commanding the stage with her presence but driving you to both tears of joy and sorrow.’ Dan Phillips, Bargain Theatre Land (February 2014)

Albert Herring (Britten) Mid Wales Opera, 2013

‘this is a highlight of my Britten centenary trawl to date, warmly recommended if it’s coming your way.’  Rupert Christiansen, The Telegraph (September 2013)

The Magic Flute (Mozart) The Merry Opera Company, 2013

‘Pamina/Constanze is outstandingly sung and acted by Daisy Brown — whom I long to hear again.’ Hilary Finch, The Times (February 2013)

‘It’s worth holding out for Daisy Brown’s Pamina who has the kind of winsome innocence (coupled with the best vocals of the evening) every fairytale princesss should have. Her “Ach, ich fühl’s” in particular is beautifully controlled and judged.’ Alexandra Coghlan, New Statesman (March 2013)

‘Daisy Brown’s ravishingly sung Pamina stood out’ Timeout (February 2013)

‘We are… granted legitimate access to the story during Daisy Brown’s breath-taking performance as both Mozart’s wife and Pamina. Alarmingly talented, Brown sings and acts with all the passion and conviction of a wide-eyed ingénue.’ Emily Hardy, Forthwall Magazine (February 2013)

‘Daisy Brown’s Pamina is even better — enchantingly wide-eyed and game in the skits but with gravity and vocal chops to melt your heart come the second act.’ Kieron Quirke, Evening Standard (February 2013)–review-8486871.html

Susanna (Handel) Iford Festival Opera, 2012

‘Daniel’s last minute paean to chastity was sung with great poise by Daisy Brown’ Stephen Walsh, Opera Now (October 2012)

‘The lovely bloom of Daisy Brown’s soprano rang out, adding a bright aura to Daniel’s appearances in what was inevitably a slightly sombre evening.’ Rian Evans, The Guardian (August 2012)

‘Daisy Brown’s Daniel was a neat bit of casting, the voice pure and youthfully bright, her stage presence quietly charismatic’ Paul Riley, Venue (August 2012)

‘Daisy Brown brings presence and spark to Daniel’s appearances, leading the drama to a conclusion whose inevitable element of moral unease Furtado handles with sensitivity and intelligence.’ The Stage (August 2012)

Stabat Mater (Pergolesi) Albion Baroque Orchestra, 2012

‘Brown’s intensity and depth, paired with the more delicate timbre of Wayne-Wright’s countertenor register painted a comprehensive account of devotional sincerity… Emphatic vocal delivery and facial expressions possessed superb and moving credibility.’ British Society for Eighteenth Century Studies (October 2012)

Semele (Handel) Hampstead Garden Opera, 2011

‘Soprano Daisy Brown as “the go-between” Iris was utterly charming in “She resides in Sweet Retreat”‘ Bach Track (2012)


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