The Magic Flute, English Touring Opera The rest of the cast including Tamino, played by Ashley Catling and Pamina played by Annabel Mountford were enchanting and prominent. Inquire - Natalie Turco-Williams. 24th April 2014
Pamina, (Annabel Mountford) and her romantic hero Tamino, (Ashley Catling) were both also wonderful. Gloucestershire Echo - Victoria Temple. 4th April 2014
Acis and Galatea, Opera Lyrica All six singers sang Handel’s inspired score with style and passion as well as technical finesse. In particular, soprano Annabel Mountford’s Galatea stood out with her beauty of tone and fine coloratura, singing her popular arias “Hush, ye warbling choir!” and “As when the dove” with charm and ease. Bachtrack - Nahoko Gotoh. 5th November 2013
Le Doctuer Miracle, RCM Annabel Mountford sang Laurette as vivaciously as she acted it, with her big hair and believably petulant teenage attitude. Classical Source – Nick Breckenfield. 28th November 2011
The standout performances were by Annabel Mountford sang excellently as a grumpy teenage daughter, a coloratura soprano part. Seen and Heard – Jim Pritchard. 2nd December 2011
He (Director Alessandro Talevi) is helped by a cast of budding comic singer-actors who have taken to the style with élan under the tutelage of Talevi and the conductor, Michael Rosewell, who makes fluffy, airy soufflés of sound in the pit to match the culinary feats on stage. Annabel Mountford apologised for a cold, but needn’t have… her bright, needlepoint soubrette burst out of the clouds and sparkled as Laurette. The Sunday Times – Hugh Canning.
Orpheus in the Underworld, RCM There’s great ensemble singing and terrific performances from the principals. The first night saw Annabel Mountford’s voluptuous Eurydice, Samuel Evans’s wandering Welsh Jupiter, a spiv-like Pluto from Anthony Gregory and a blood-curdling Diana by Eleanor Dennis (don’t cross her even if you’re the King of the Gods!) Classical Source – Simon Thomas, 29th November 2010.
With Thebes transformed into a by-the-hour hotel, sheep into giggling knitwear models, Mount Olympus into a health spa, and Hades into a nightclub (designs by Chloe Lamford), Steel conjured a performance of terrific vivacity and energy from the RCM students. Annabel Mountford was the nubile Eurydice, her marriage to Orpheus (Edward Hughes) long cooled into mutual antipathy, her dalliances with Pluto (Anthony Gregory) and Jupiter (Samuel Evans) a gymnastic display of female silliness and swaggering male vanity… …Orpheus is a challenge for any company, but I’ve rarely seen a cast enjoy themselves so much. The Independent – Anna Picard, 5th December 2010.
Il Pastor Fido, RCM / 2010 London Handel Festival Buoyant soprano Annabel Mountford delighted the audience as the scheming Eurilla, forever plotting to steal Mirtillo’s affections. The Observer – Stephen Pritchard, 28th March 2010.
Impressive among the sopranos was Annabel Mountford’s wonderfully psychopathic Eurilla, who delivered some of the best recitative singing of the afternoon, combining some powerful characterisation with a real sense of vocal line. Her triumphant aria of anticipated victory, with its high tessitura, suited her perfectly, and anyone who can deliver singing of such quality while maintaining a one-legged Cupid pose, deserves respect. Opera Britannia – Alexandra Coghlan. 29th March 2010.
La Bohème, Opera UpClose. Cock Tavern Theatre Annabel Mountford’s Musetta is a treat, not only in Act 2 but in the subsequent acts – and her voice is truly operatic. The Spectator – Michael Tanner, 6th January 2010.
Without doubt the rising star of the show was Annabel Mountford as Musetta, who not only sang beautifully and was note perfect, but evinced heartfelt emotion in the final act, contrasted with her playful performance in the previous three. The Public Reviews – Deborah Klayman. 14th December 2009.
Musetta, sung by Annabel Mountford had charisma in spades and was a pleasure to watch… Notes from the Underground – Dasha Afanasieva. 21st December 2009.
Teseo, English Touring Opera
The singers…are very good especially Annabel Mountford who took over the role of the heroine Agilea as part of English Touring Opera’s partnership with the Royal College of Music. If dramatically she was a little subdued as the strong-minded but much afflicted royal ward, she more than made up for it in her fourth act duet with Teseo and the quartet in the fifth act. What’s on stage – Anne Morley-Priestman. 18th November 2009.