Beth: Little Women / Opera Holland Park 2022
“…the quietly tragic death of Beth, sung beautifully by Harriet Eyley.”
The Times
Zerlina: Don Giovanni / Welsh National Opera 2022
“Harriet Eyley’s Zerlina…catches precisely the agony of the honest but flighty peasant girl momentarily star-struck, lured into near disaster, rescued by music. Both her arias are among the loveliest things in all Mozart, and they both sounded it on this occasion.”
The Arts Desk
Oriana: Amadigi / English Touring Opera 2021
“…the stellar pair of Francesca Chiejina (Melissa) and Harriet Eyley (Oriana).”
Bachtrack
“Eyley is bright-toned with some appealing coloratura.”
The Guardian
“Harriet Eyley’s Oriana is button-bright…”
iNews
“The soprano Harriet Eyley uses her flexible voice to great effect and is always in role, and at times is suitably tragic. She subtly builds her character over the course of the opera to emerge triumphant by the end…”
LondonTheatre1
“Harriet Eyley sings Oriana’s love songs with exquisite sweetness…”
Opera Today
“…Harriet Eyley, the eloquent Oriana…”
The Standard
“…the quantities of emotional, incisive singing elsewhere were larger still, notably from Harriet Eyley’s Oriana, particularly fine when feeling deservedly aggrieved.”
The Times
Frasquita: Carmen / Welsh National Opera
“Harriet Eyley and Angela Simkin blended ideally as Frasquita and Mercédès…”
Bachtrack
“Frasquita (Harriet Eyley) and Mercédès (Angela Simkin) were fully involved in the drama, sang with vibrancy, and were also clearly distinguished characters.”
Opera Today
“Harriet Eyley (Frasquita) and Angela Simkin (Mercédès) made attractive and vivacious companions of Carmen, singing and acting with pleasing commitment and judgement.”
Seen and Heard International
“There’s strong support from Harriet Eyley and Angela Simkin (Frasquita and Mercédès)…”
The Spectator
Tytania: A Midsummer Night’s Dream / Royal College of Music
“Harriet Eyley, magnetic, big-voiced and bright-toned…”
Bachtrack
“Harriet Eyley – whom I admired very much as the Vixen in RCM’s production of Janacek’s own forest foray last Autumn, and in Poulenc’s Les mamelles de Tirésias at the College earlier that year – was, as Tatyana, once again tremendously glossy of voice, adding some much needed glamour.”
Opera Today
Meleagro: La corona / Bampton Classical Opera
“Harriet Eyley’s Meleagro, whose heroism en travesti, both bright-toned and variegated, proved just the ‘early Classical’ ticket.”
Boulezian
“As the heroic Meleagro, soprano Harriet Eyley combined warmth and litheness. She captured the prince’s earnestness in ‘Sol voi rese il ciel cortese’, praising the Emperor’s glorious virtue, while ‘Fe’ germolgliare il fato’ was an absolute delight…”
Opera Today
Norina: Don Pasquale / Welsh National Opera
“…well sung and acted by Harriet Eyley…”
Arts Scene in Wales
“Harriet Eyley was an appealing Norina, with a big, well-rounded voice.”
British Theatre Guide
“Harriet Eyley gives a magical two-fold performance as the cute dungaree-clad health drink seller, Norina, who transforms into a vivacious valleys siren and turns both Pasquale and Ernesto’s worlds upside down with love and desire while she dazzles the audience with her beautiful soprano delivery.”
Entertainment South Wales
“Harriet Eyley is both charming and puckishly naughty in her subterfuge…”
Norwich Eye
“Harriet Eyley, whose complex timbre takes her beyond a soubrette, threw herself into her characterisation of right-on Norina and lairy Sofronia, and Nico Darmanin’s all-singing, all-dancing Ernesto offered the vocal highlights.”
Opera
Nico Darmanin and Harriet Eyley are strong singers with lovely voices…”
Plays To See
“Sung gloriously and acted with huge comedic flair by Harriet Eyley…”
South Wales Argus
Clotilde: Faramondo / London Handel Festival
“…she emerged with triumphant vigour in the memorable and virtuosic aria ‘Combatutta da due venti’…”
Classical Source
“Eyley, silver-toned and effortless, is by turns virtuosic and exquisite.”
The Guardian
“Harriet Eyley displays a beguiling soprano as Clotilde…”
Music OMH
“Harriet Eyley sparkled as a gamine Clotilde…”
Opera Today
“I enjoyed Harriet Eyley’s spirited portrayal of the conflicted Clotilde…”
The Times
Vixen Sharp-Ears: The Cunning Litle Vixen / Royal College of Music
“Harriet Eyley is a triumph as the Vixen, captivating vocally and dramatically and conveying a lovely innocence and ferocity…”
Classical Source
“As the Vixen, Harriet Eyley displayed thrilling brightness and vocal intensity, conveying the character’s vulnerability as well as her confidence and insouciance. In the moonlit interlude her soaring lyrical lines blazed with passion.”
Opera
Barbarina: Le nozze di Figaro / Welsh National Opera
“Barbarina, sung by Harriet Eyley, was charming.”
Art Scene in Wales
“Harriet Eyley maximised the opportunities Barbarina gets to steal key moments in the action.”
Opera
“Harriet Eyley sang a crystalline Barbarina…”
Opera Traveller
“Harriet Eyley made a real impression, vocally and dramatically – a future Susanna.”
Plays To See
Thérèse: Les mamelles de Tirésias / Royal College of Music
“…in Harriet Eyley, the RCM were blessed with a fine singing actress who projected imposingly but with a vocal warmth which assuaged some of Thérèse’s feisty unreasonableness. The challenging coloratura was sung with penetrating precision and a sparkle of panache.“
Opera
Nora: Riders to the Sea / British Youth Opera
“…sung with searing concentration and wonderfully contained restraint…”
The Guardian
“…the radiantly engaged soprano Harriet Eyley as Nora…”
WhatsOnStage
Oscar: Un ballo in maschera / Welsh National Opera
“It is a voice with wonderful warmth, clarity and tone, and she exudes charm on stage, and, in this role, a sense of mischief and fun whenever she appears. Definitely one to watch.”
Behind the Arras
