top of page
“Her soprano has real gloss, her coloratura is shaped with expressive grace and her stage presence is gripping.”
Traviata © Robert Workman
“But the standout among the astonishingly talented group of performers is Fagan, who so wholly captures the essence of the Countess, drawn between the pain of betrayal and her own desires. When Fagan sings, it's as if time stops. Her rendition of Dove sono, delivered while lying on the steps of the estate's main hall, is achingly beautiful, imbued with pain and anger".
"The vulnerable, yet not entirely innocent, Countess Almaviva of Australian soprano Lauren Fagan in a role debut....her voice is simply gorgeous, etching the lovely long lines of her two great arias exquisitely and with great feeling."
"Fagan's crystalline Countess"
THE GLOBE AND MAIL
Dove sono i bei momenti, in which the Countess ponders "where the lovely moments" of her marriage went, is delivered by Fagan with touching conviction and a sonorous, bell-like tone."
THE GLOBE AND MAIL
Le nozze di Figaro
CANADIAN OPERA COMPANY
© MICHAEL COOPER
“Margarita (Fagan) effectively carries the show, and Fagan - fresh from playing the village tart in The Wreckers at Glyndebourne - breathes tearful fervour into every gesture and phrase, scraping a dark, bitter residue of pain from her low notes. She's tremendous, her vocal performance clearly informed."
“Soprano Lauren Fagan is the actress Maragrita, singing the opening scenes with a deep chest voice but scaling gleaming heights for Margarita's final apotheosis"
"As Margarita (a part concieved for Dawn Upshaw), Lauren Fagan is superbly foreceful in a part that reaches high both in range and passion."
“Lauren Fagan, as Violetta, is beautiful and the range of her music and emotion is fearless. At every moment in triumph and despair, she holds the audience's attention like a star."
"The voices of both Fagan and Wang are thrilling, displaying remarkable control, enthralling the full-house audience. Vocally masterful, in Act 2, was the way her singing conveyed a dignified resistance to Germont's disdain....with rich emotion and despair she acknowledged this with one of the most moving accounts of "Addio, del passato" I have ever heard"
In their lead roles, Fagan and Wang are astonishing. Fagan's uncompromising soprano purity is a joy to listen to. As the consumptive and unapologetic Violetta, Fagan voices the part majestically and delivers the role with sensitivity and subtlety".
© THE PHOTOGRAPHY PLACE
GLYNDEBOURNE FESTIVAL OPERA
“Lauren Fagan, excellent as always, is the impulsive, unstable Avis.”
“Lauren Fagan's bright, incisive soprano dominates her scenes"
“Lauren Fagan shines as the troubled, jealous Avis"
"A large cast, of whom the standouts are Karis Tucker as the rebellious wife and Lauren Fagan as her jealous nemesis"
“Lauren Fagan, plays the death scene with her own dramatic freedom rather than borrowed histrionics. At home in both Violetta’s modes — as strong in the coloratura as the introverted musings — she sings luminously.”
“In Act I Lauren Fagan as Violetta is lyrical, unflamboyant yet technically accomplished, but in Acts II and III mines unsuspected depths of emotion while singing the music with pearly ease.”
“Soprano Lauren Fagan is entirely assured in negotiating the difficulties of Verdi’s writing with boundless skill and expressivity, presenting his heroine as a multi-faceted human being.”
© Richard H. Smith
SIMONE YOUNG &
SYDNEY SYMPHONY ORCHESTRA
Her rich and powerful timbre cutting through in Beethoven’s dramatic concert aria, Ah! Perfido (Oh, faithless one), a work which runs the range of emotions and showed why Fagan was selected for Covent Garden’s prestigious Jette Parker Young Artists Program."
SYDNEY MORNING HERALD
Covid precautions required Australian soprano Lauren Fagan to sing Beethoven’s concert aria Ah! Perfido, Opus 65, from behind the strings rather than front of stage, but she projected with magnificent dramatic power nonetheless, nurturing the central aria with warm expressiveness and rising to thrilling dramatic power at climactic moments.
"Fagan’s is a powerful instrument and she nonetheless soared across the more immediate sound of the string section with her polished soprano. There were some lovely veiled moments in her upper register early in the aria before she allowed her voice to unfurl in the dramatic climax, easily filling the space with her glossy, commanding sound."
“Lauren Fagan’s Mimì was beautifully sweet, delicate and restrained, but unleashed torrents of powerful emotion, a fact evident from the moment she joined her new lover Rodolfo for ‘O soave fanciulla.’ She was thrilling.”
“The quality of the vocal performances is superb. Lauren Fagan, as the doomed Mimi, gives a gorgeous rendition of ‘Si, Mi Chiamano Mimi’, shortly before duetting with Eleazar Rodriguez on a moonlit ‘O Soave Fanciulla’ that proves to be one of the highlights of the evening.”
© Richard H. Smith
KARLSRUHE HANDEL FESTSPIELE
“Rising young star Lauren Fagan dazzles as Alcina. Her laments, and in particular the “Mi restano le lagrime”, are literally gilded in gold, her voice can display pain incarnate, while also asserting powerful nobility and a superb helplessness.”
“As Alcina the gorgeous soprano Lauren Fagan convinces again, completing her six (!) bravura arias between despair and rage, rapture and revenge, with breathtaking, truly magical virtuosity; and in her art of frenzied coloratura, crazy flights of fancy, elegant arcs and daring leaps, demonstrates boundless skill.”
BADISCHE NEUE NACHRICHTEN
“the up-and-coming soprano Lauren Fagan as Alcina…Fagan was a convincing sorceress from the start, with a strong, rich soprano”
“Fagan, one of today’s finest young sopranos, is exceptional throughout and a superb actor. Her tone blazes with existential defiance and desperation, and she possesses both the agility for act one – Sempre Libera is capped by a dazzling top E flat – and the dramatic weight for the closing scenes.”
“Luckily, these opening moments also reveal that in Lauren Fagan this new production has a Violetta of considerable force, plangent tones and solid dramatic instincts.”
“the easy grace of Fagan’s coloratura, the warmth and richness of her sound, and her delicately floated high notes, all make this Violetta a delight.”
“More than just technical precision though, Fagan’s performance embodied Violetta’s tragedy and nobility, phrases soaked with emotion which matched the quality of her acting. Fagan alone makes this production worth seeing.”
OPERA HOLLAND PARK
© Ali Wright
Written on Skin
LONDON / ST PETERSBURG
“As for Lauren Fagan, playing the humiliated wife for whom a taste of real love catalyses her one act of defiance, she achieves a small miracle: dispelling memories of how Barbara Hannigan sang and acted in the premiere. Fagan delivers a fiercer, less enigmatic characterisation.”
“Most thrilling of all, Lauren Fagan’s gleaming, intense performance showed what a extraordinary dramatic creation the character of Agnès is, one of the great operatic heroines of the past 100 years.”
“Lauren Fagan (a Jette Parker Young Artist alumna) revealed Agnès’s erotic awakening with conviction and was even more persuasive in her vindictive rejection of her husband.”
“From her first appearance as Donna Anna, Lauren Fagan demonstrated a rich, creamy and dramatic voice that bought immediacy and thrill to her every utterance. She uses words and a palette of vocal colours to thrilling effect; this is a voice of amazing potential.”
“Lauren Fagan sang her first Donna Anna as if it were a walk in Holland Park, flinging out her repeated As in ‘Or sai chi l’onore’”
“Australian soprano Lauren Fagan sang a commanding Donna Anna with dramatic recitatives, laser-like projection and clean fioritura. “Non mi dir” was the highlight of the evening”.
© Robert Workman
bottom of page