Reviews
Cosi fan Tutte, RCMIOS, RCM Britten Theatre
"As Fiordiligi, Scottish-born Eleanor Dennis was even more impressive, attracting raucous applause for her first aria, Come Scoglio (Like a Rock). She posesses a rich and creamy toned voice and is able to project it in the most astonishing way. Soaring over the orchestra, it seemed to fill the roof space of the Britten Theatre, never strained or seeming anywhere near its limit. Every note of Per Pieta, ben mio perdona (Please, my beloved, forgive) was more beautiful and powerful than the last and it is hard to imagine a voice of this tone and size not moving into more dramatic repertoire in the near future." - Laura Kate Wilson, bachtrack.com, July 2011
"RCM paraded its usual astonishing cast: Eleanor Dennis utterly assured, controlled and musical as Fiordiligi" - Robert Thicknesse, Opera Now magazine, December 2011
Le Nozze di Figaro, British Youth Opera, Peacock Theatre
"[Ellie Laugharne's] lighter soprano and the fuller tones of Eleanor Dennis as the Countess blended well; the latter's 'Porgi, amor' was beautifully controlled and her 'Dove sono' infused with deep emotion" - Margaret Davies, Opera Magazine, September 2011
"Eleanor Dennis gives a touching and sumptuously sung portrayal of the Countess" - Julia Rank, ayoungertheatre.com, September 2011
"Eleanor Dennis was an unusual Countess: a feisty, generous singer and the only character to communicate sexual drive" - Anna Picard, Independant on Sunday, September 2011
"Eleanor Dennis [was] a sensuous Countess" - Robert Thicknesse, Opera Now magazine, December 2011
'It was clear from the start we had a first-class soprano in the title role...Eleanor Dennis has the look and manner of a grand tradegienne' - Michael Church, Independent
Rodelinda, London Handel Festival, RCM Britten Theatre
'...every member of the cast shone. One stood out (in the first of two casts): Scottish soprano Eleanor Dennis singing the title role of the grief-stricken queen. Statuesque and restrained in manner, yet always expressive, she has a voice resplendent in colour, with great reserves of stamina, a rich tone, and the fexibility to deal with all the tricky coloratura Handel throws at her. If all goes to plan, she has a marvellous future. I'm not sure I can ever remember one who so obviously deserves to be a star.' - Fiona Maddocks, Observer, March 2011
'Eleanor Dennis was impressive as Rodelinda from the very start, tragic in her opening scene of two arias, imperious in 'Morrai, si', and nobly covering all the emotional bases on her way to a joyful reunion with her husband. Her voice is powerful, characterful, dazzling in all the coloratura, and with a very attractive gleam, and she has that undoubted advantage of being tall, so she has a naturally commanding presence.' - Peter Reed, Opera magazine, April/May 2011
'...it was clear from the start that we had a first-class soprano in the title role...Eleanor Dennis has the look and manner of a grand tradegienne' - Michael Church, Independant, March 2011
'Emotional sincerety, however, was something we had in excess...(with) the impassioned grief of Eleanor Dennis's Rodelinda...Dennis has matured into her stage presence, delivering a performance of serious vocal class which set the curve for her colleagues. Dispatching the likes of 'Mio caro bene' and 'Se'l mio duol' with emotive skill and silken tone, it was the punchier coloratura of 'L'empio rigor' and the glorious 'Morrai, si' that she really showed her quality and new-found control' - Alexandra Coghlan, theartsdesk.com, March 2011
'...soprano Eleanor Dennis (was) outstanding in (her) role...(she) sang her 'Ombre Piante' and also her revenge aria 'Morrai si' with passion and good control of her high register. Some of her ornamentation in the da capo was spectacular'. - Nahoko Gotoh, bachtrack.com, March 2011
'Eleanor Dennis's fluent Rodelinda rises to an exciting top register' - George Hall, Guardian, March 2011
'Above all, Eleanor Dennis's Rodelinda shows how a pure soprano with a sharp edge can make Handel's music speak' - Richard Fairman, Financial Times, March 2011
'As the grieving queen, wife and mother, Eleanor Dennis's...powerful soprano made the eardrums shake...(A) talent to watch' - Geoff Brown, Times, March 2011
'Eleanor Dennis (delivered) a performance of serious vocal class' - Alexandra Coghlan, theartsdesk.com
Orpheus in the Underworld, RCM Britten Theatre
'There was great ensemble singing and terrific singing from the principles...Eleanor Dennis (was) a blood-curdling Diana (don't cross her even if you are King of the Gods!) - classicalsource.com, December 2010
'It is hard to single out the performers, though I was impressed by...Eleanor Dennis' ability to bounce whilst singing, making opera look damn easy' - theatrenetwork.org, December 2010
'Eleanor Dennis (makes) opera look damn easy' - theatrenetwork.org
Wigmore Hall/Sheffield Crucible Theatre Recital programme - Countess of Munster Musical Trust
'The engaging soprano Eleanor Dennis'...sound is vibrant and clear and she performs with intelligance and musicality...Her solo offering in the second half, Britten's On This Island, was nothing short of sublime - her interprettion of 'Nocturne' was particularly enchanting' - musiconh.com, November 2010
'Soprano Eleanor Dennis launched meaningfully into the long recitative of Haydn's Scena di Berenice as if her life depended on it, before delivering the two-part aria - of Mozart concert aria difficulty - with bravura confidence. A powerful voice surely destined to be heard regularly on the opera stages, she was able to control it for the less extrovert songs by Richard Strauss...Her performance of Britten's On This Island, originally written for soprano, made you wonder why more sopranos don't sing it. Her utterance of the final line of 'Nocturne' was spine-tingling'. - Sheffield Telegraph, November 2010
'Her solo offering in the second half was nothing short of sublime...' - musicomh.com
