Miranda Westcott

mezzo - soprano

©   Miranda Westcott   2018


Cherubino  (The Marriage of Figaro)    

“Miranda Westcott as Cherubino was a delight to see and hear, with body movement and characterisation just perfect for the role.”

                             Roy Goodall, Words and Music


Olga  (Eugene Onegin)  

“Miranda Westcott emphasised Olga’s shallowness in her teasing of Tatyana and Lensky  and her ample mezzo served the character well.” 

                             Margaret Davies, Opera Magazine


“A great Olga, all energy and fun”                      

                            Kirsty Young, Opera Talent

The Drummer  (The Kaiser of Atlantis)   

“The most assertive and confident performance came from Miranda Westcott as the Drummer, her role as sexy vamp being complemented by the richness of her voice,  especially in the slow passages placed high in her range.”                                                                        Elizabeth Millard, Opera Magazine


“The Music is not always easy on the ear, but there were some strong performances particularly from Miranda Westcott who plays the Drummer.”             Gaby Wine, The Jewish Chronicle


Sparkeion  (Thespis)  

“Miranda Westcott gave quite the best rendition of ‘Little maid of Arcadee’ I have ever heard,  in a lovely rich, almost fruity, mezzo with a good top.”               Stephen Turnbull, Sullivan Society Magazine


“superbly sung by Miranda Westcott in the breeches role of Sparkeion”

                                                                                           John Thaxter, British Theatre Guide


in recital (Oxford Lieder Festival)

“Three of Mahler’s Rückert Lieder took only seconds to make their mark in each case... a delicate fragrance to Ich atmet’, and an expressive account of Blicke mir, while the contrasting Ich bin der Welt displayed Westcott’s haunting lower register to advantage."     Giles Woodforde, Oxford Times


Dido  (Dido and Aeneas)

“Queen Dido, was well sung by Miranda Westcott, the tone rich and   smoky. In the aria ‘When I am laid’ she produces a powerful sound”                                    Alex Galera, Opera Talent


La Nourrice  (Médeé)

“words were frequently swamped by the accompaniment but the odd phrase emerged clearly, especially from Miranda Westcott”                                                Patrick O'Connor, Opera Magazine


“Critic's Choice”                                                               Robert Thicknesse, The Times


“A performance notable for its fluency and directness... the cast worked hard and to some purpose. Plows' direction was clear and focused, and all in all this proved a worthwhile enterprise.”

                                                                                           Geoge Hall, Opera Now


in oratorio (The Music Makers, King Edwards Music Society, Macclesfield)

"Miranda Westcott has intelligence, poetic sensibility, vocal torque and lung power more than sufficient to put her on the international stage."                              Rob Barnett, Seen and Heard International


Tisbe  (Cenerentola)

“Critic's Choice”                                                               Robert Thicknesse, The Times


“Sian Jones and Miranda Westcott as the ugly sisters prove the old truth that the devil always gets the best lines, seething and pouting their way across the stage.  Cinderella's unwavering goodness and humility is constantly undermined by the sisters to great comic effect - hilarious!”

                                                                                          Dawn King, The Islington Tribune