reviews

 

Marcellina
The Marriage of Figaro
English National Opera
Marie Curie
Daughters of the Elements
Polycaste
Icarus
Tête-à-Tête Festival
Swiss Grandmother, Austrian Woman, British Dancing Girl
The Death of Klinghoffer
Opera Theatre of St Louis
Suzuki
Madama Butterfly
Houston Grand Opera
Carolina
Elegy for Young Lovers
ENO/Young Vic

Recollections of My Childhood
Stravinsky Songs
Transition_Projects/span>

Margaret Johnson
The Light in the Piazza
The Curve
Page Salome
Metropolitan Opera

Prince Orlofsky
Domingo & Friends: LA Opera’s 20th Anniversary Gala

Los Angeles Opera

Hansel Hansel and Gretel
Los Angeles Opera

Cherubino Le nozze di Figaro
Los Angeles Opera

Erika Vanessa
Los Angeles Opera

Erika Vanessa
Washington National Opera

Ava Hopper’s Wife
Long Beach Opera

Clare de Loone On the Town English National Opera

Amastris Xerxes
English National Opera

Judy Punch and Judy ENO/Young Vic

Thea The Knot Garden MTW/ROH2

Octavian Der Rosenkavalier Hamburg Staatsoper

Charlotte Werther
Cologne

Sméraldine
L’amour des Trois Oranges
Cologne

Sesto Giulio Cesare
Opéra de Monte-Carlo

Erika Vanessa
Opéra de Monte-Carlo

Erika Vanessa
Opéra du Rhin, Strasbourg

Clare de Loone On the Town Théatre du Châtelet

Stravinsky Songs
City of Birmingham
Symphony Orchestra

Songs of the Auvergne
New York City Ballet

Recollections of My Childhood
Stravinsky Songs X Transition_Projects

 

© Netia Jones

“Lucy Schaufer sang magnificently, capturing both the tone and the phonetic contour of the Russian.”
(musicweb-international.com)

“The second event, based around Stravinsky's Russian folk and nonsense songs, was a total delight. Naïvety was the keynote here, with the singer Lucy Schaufer playing the role of the fond but strict mother singing the songs while brushing the knotted hair of her little ones.”
(The Telegraph)

“Mezzo Lucy Schaufer was joined by Christopher Glynn, Tom Hankey and a cast of non-singing children for a fun, well-conceived recital of songs and instrumental music from Stravinsky's immediately pre- and post- Rite periods. The Russian texts and musical idiom were handled with skill by singer and pianist. The brio of the music belies its knotty intricacy, and the performers did well to imbue the presentation with a consistent sense of levity. The musical programme and performance put together to draw out that youthful theme made for a very pleasurable and coherent experience.”
(musicalcriticism.com)