SELECTED REVIEWS
Brünnhilde (Götterdämmerung excerpts) London Welsh Centre, December 2011
Elaine McKrill tore the place apart. The power, passion and beauty of her singing would grace any international stage, and the way she conveyed Brünnhilde's newly-found vulnerability, her anguished inner conflict as Hagen tempted her to betray Siegfried, and her silent grief and pain when Hagen proposed "Siegfrieds Tod", were heartbreaking.
McKrill surpassed herself in the Immolation, especially at the lovely moment when she mimed releasing a bird into flight, just before the huge peace of "Ruhe, ruhe, du Gott!", and in the almost cosmic power of the ending. (Katie Barnes - Wagner News)
Ortlinde (Die Walküre) Hallé Orchestra, Bridgewater Hall - July 2011
... a group of Valkyries of tremendous urgency. You could see Wotan in their eyes, and hear him in voices of such power that you felt like you'd been run over by a train. The Independent 18 July 2011
Isolde (Tristan und Isolde) Teatro Carlo Felice, Genoa - April 2010
For some unpublicized reason Carlo Felice scheduled an hiatus of ten days after the third of its five Tristan performances. For the reprise on April 28 much of the cast had changed, most notably the Isolde, now English soprano Elaine McKrill. Mme. McKrill, a veteran of smaller roles in prestige Ring productions, is an accomplished and experienced artist who arrived in Genoa vocally and dramatically well prepared, and definitely raring to give a fine performance. That she did.
Mme McKrill is a youthful Isolde, her wiles more innocent than knowing, her musicality more urgent than considered. Thus she gave Mo. Gelmetti an Isolde more human than mythical - she was not the sorceress that Mo. Gelmetti might imagine if Wagner's opera were only the Tristan tragedy. Mme McKrill's Liebestod was understood as a hymn to femininity, her tragedy felt as the impossibility of attaining the paramount feminine ideal. Both heroes of this Tristan were victims of love, Isolde learned that love was but a myth, Tristan understood that to love he would sacrifice his life. Opera Today.com - Michael Milenski 15 May 10
Marianne Leitmetzerin (Der Rosenkavalier) ROH - December 2009
Elaine McKrill sang well as Sophie's dotty Duenna who succumbed to the vapours at any hint of inappropriate behaviour by her charge. (Jim Pritchard - Seen and Heard)
Ortrud (Lohengrin) - Henry Wood Hall, London, November 2009
- the show was stolen by Elaine McKrill as Ortrud. Even while she was waiting to sing, walking to her place and laying her score on the stand, we could see that she was already in character, and her evil smile as Elsa sang was blood-chilling. With her very first lines, she made the afternoon take fire. Her first interjection in 'Euch Lüften' was a hiss of pure malice, and her cry of 'Elsa!' sounded laced with evil, even while Ortrud was pretending to be servile, before opening her voice out to make her plea sound so pathetic that she nearly convinced me of her sincerity. Then the impact of 'Entweihte Götter!', a sudden unleashing of terrifying pagan power, fairly rocked the audience in their seats, before we saw the tremendous effort of changing her facial expression as Elsa reappeared. Her lower register is so wonderfully rich, which heightened the contrast with (Julie) Unwin's high, pure tones in the duet, and the dramatic tautness between them was intense. Her reappearance in Act III at 'Fahr heim!' was devastating, like a whirlwind cutting across everything. What a superb singing actress she is.
(A) force of nature...who shattered us all.....
(Katie Barnes - Wagner News)
Isolde (Tristan und Isolde) Opera Dijon - June 2009
Des chanteurs, on apprécie surtout l'Isolde d' Elaine McKrill dont la présence porte l'opéra. Ce rôle écrasant, elle l'assume avec une stabilité vocale remarquable. D'une douceur bouleversante au 1er acte lorsqu'elle raconte la rencontre avec Tristan, le personnage évolue ensuite, comme si la jeune fille abandonnait sa fragilité pour assumer pleinement son rôle de femme transfigurée par la passion.
Amongst the singers we appreciated especially the Isolde of Elaine McKrill, whose presence literally sustains the opera. She assumes this overwhelming role with a remarkable vocal stability. From the very moving sweetness of the first act when she tells of the meeting with Tristan, she then develops her character, as if the girl was leaving her fragility behind to assume completely her role as a woman transfigured by passion. (Isabelle Sibbe - Anaclase.com)
Elaine McKrill en Isolde crépusculaire se love de manière admirable dans les volutes du chant wagnérien et offre dans le duo d'amour du second acte avec Leonid Zakhozhaev un moment de rêve éveillé d'une sensibilité à fleur de peau. Elle réussit même dans la scène finale, malgré les projecteurs qui illuminent crûment la salle, à garder l'émotion intacte.
As a twilight Isolde, Elaine McKrill coils up admirably in swirls of Wagnerian singing and, in the love duet in the second act with Leonid Zakhozaev, gives a moment of awakened dream, of delicate and moving sensibility. In the final scene she manages, despite the spotlights which illuminate the audience, to sustain the emotion. (Michel le Naour - Concertclassic.com)
Elaine McKrill interprète le rôle titre avec subtilité et l'air final « Mild und leise » est conforté par sa musicalité.
Elaine McKrill interprets the title role with subtlety and the final 'Mild und leise' is strengthened by her musicality. (Joelle Farenc - ResMusica)
...l'Irlandaise campe un personnage jeune et volontaire, qui offre son lot de nuances.
The Irish girl is portrayed as a young and strong willed character, offering many nuances. (Yannick Millon - Altamusica)
Her portrayal was assured, angry, lustful; at times petulant and at times dignified. The (Act One) narration and curse were beautifully delivered...McKrill's triumphant and Madonna-like Liebestod... (Jorge Rodrigues - Wagner News)
Missa Solemnis (Beethoven) North London Chorus - March 2009
The evening's soloists gave superb performances, working closely with the choir to produce many memorable moments. Right from the Kyrie, it was clear how much preparation had gone into this concert - the Christe eleison was superb. (David Winskill - Ham and High)
Swedenborg Hall Recital - May 2008
...a wonderfully powerful technique...a strong lyrical performance...at times almost venom in her delivery (Act I Narration and Curse - Isolde)
Much tenderness...remarkable vocal fireworks... (Immolation Scene - Brünnhilde)
(Jeremy Rowe - Wagner News)
Kundry (Parsifal Act II) St Michael's Hall, London - October 2007
Elaine McKrill...gave an impassioned account...excellent diction
(David Waters - Wagner News)
Brünnhilde (Ring Cycle) -
Elaine…dominated the stage…attacked her declamations fearlessly…superb diction (David Waters - Wagner News)
Amelia (Un Ballo in Maschera) -
Elaine McKrill was a dignified and graceful Amelia who possessed a beautifully full soprano voice
(Elena Hill - Sevenoaks Chronicle)
Amelia played by Elaine McKrill had all the attributes of a leading lady - strength, stage presence and musicianship. It was easy to believe that both men would have fallen for her
(Kate Davies)
Brünnhilde (Die Walküre) -
Masterly. Elaine McKrill's beautiful voice especially moving as she pleads with her father
(Hugh Vickers - Oxford Times)
Kundry (Parsifal) - Palace Opera, June 2005
Elaine brings deeply moving interpretations to all the roles she sings
(Michael Bousfield - Wagner News)
Brünnhilde (Die Walküre) - Mastersingers, December 2004
| (Michael Bousfield - Wagner News) |
Elaine McKrill was simply outstanding, conveying wonderful generosity and amplitude, not just in her singing but in her portrayal of the warrior maiden who is prepared to give up everything to safeguard the Volsungs
Elaine McKrill's Brünnhilde was fantastic
(Katie Barnes - Wagner News)
Vanda (Dvorák , UK
Elaine McKrill - terrific - sang fabulously
(Roderic Dunnett - Opera Now)
Elaine McKrill's Vanda is a fearless and indefatigable dramatic soprano
(Hilary Finch - The Times)
Her characterisation of Vanda is strong, robust and convincing
(Stephan Long - Morning Star)
The star was the titular heroine, sung and well-acted by Royal Academy-trained soprano Elaine McKrill. Her oath to her country in Act 1 was particularly impressive. Yet she could be touching also, as in the closing scenes of the opera
(Colin Clarke - Classical Music Web)
Elaine McKrill`s Vanda combined the looks and voice of a Valkyrie
(Andrew Clark - Financial Times)
Gutrune (Götterdämmerung) - Scottish Opera 2004
A fine portrayal…. Making much of her close questioning of Siegfried about what really happened when he and Gunther went to Brunnhilde's rock
(The Sunday Telegraph - 13 April 2003)
Gunther takes refuge in a relationship with Gutrune, finely characterised by Elaine McKrill
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Breathtaking: Elaine McKrill as Gutrune
(Daily Mail - 11 April 2003)
Glamourpuss Gutrune
(The Sunday Times - 13 April 2003)
Elaine McKrill - a glamorous and touching Gutrune
(The Independent - 20 August 2003)
Peter Savidge and Elaine McKrill turned in portrayals of Gunther and Gutrune both strongly sung and considered depictions of weak and somewhat unsympathetic characters
(Alexander Campbell, Classical Source - August 03)
Manon Lescaut - Kentish Opera April 2002
As Manon Lescaut, soprano Elaine McKrill sang and acted the role with a passion and clarity of voice that could not be faulted
(Roy Atterbury - Kentish Times)
Abigaille (Nabucco) - Kentish Opera April 2000
The performances in the leading roles brought a special quality to the opening night. Soprano Elaine McKrill, in particular, generated a great sense of evil as the slave Abigaille whose desire for power blinds her to the true nature of the appalling deeds she commits. It was a dynamic portrayal, mesmeric in its intensity and faultless in its interpretation
(Roy Atterbury - Kentish Times)