What people are saying:
...but it was the more disturbed Richardson’s performance that drew the attention. Physically shattered by her military role and deeply conflicted by issues of religion and duty, her clear robust soprano added depth and an inner strength to the character.
Bachtrack review by David Smythe of Royal Conservatoire of Scotland's production of Britten's The Rape of Lucretia, 19th January 2020
There are some glorious musical moments, as often from the thirteen-piece orchestra in the pit with conductor Lionel Friend. The Act Two lullaby for harp, alto flute and bass clarinet with female chorus Charlotte Richardson is Britten at his distinctive best, while the vocal ensemble work was of a consistently high standard throughout.
Keith Bruce's review for the Glasgow Herald of the Royal Conservatoire of Scotland's production of Britten's The Rape of Lucretia, 19th January 2020
Soprano soloist Charlotte Richardson...sang with great tenderness and gentle passion.
Congleton Chronicle's review of Congleton Choral Society's concert of Goodall's Eternal Light and Jenkin's The Armed Man, 14th July 2018
Mother Gertrud, played by soprano Charlotte Richardson notable for her clear and expressive voice went about her role in an unassuming way.
Seen & Heard International review of Humperdinck's Hansel & Gretel at RNCM, 19th March 2018
'Disagreeable stepsisters, Noémie and Dorothée, played by Charlotte Richardson and Rhiain Taylor looked delightful and sounded well too. I look forward to them appearing in more substantial future roles.'
Seen & Heard International review of Massenet's Cendrillon at RNCM, 12th December 2017
'...beautiful sustained singing...from soprano Charlotte Richardson'
Congleton Chronicle's review of Congleton Choral Society's concert of the Vivaldi Gloria and Chilcott Requiem in Congleton Town Hall, 11th November 11th 2017
'Charlotte Richardson was an imposing Lady Ellington'
Review by Confidentials Manchester of RNCM's production of Offenbach's La Vie Parisienne, 9th December 2016
'His intended guests are Lord and Lady Ellington (John Ieuan Jones and Charlotte Richardson) who are in Paris to sample its’ baser delights, certainly implied by Lady Ellington’s shameless handling of the pink Tour Eiffel. While Lord Ellington has his eye on just about anyone in French frilly knickers, Lady Ellington has hers on de Cardefeu’s tower as much as he has on her Eurotunnel..... I was here for the singing – and brilliant it was too.'
Review by Northern Soul of RNCM's production of Offenbach's La Vie Parisienne, 9th December 2016
'Our soprano for the evening, Charlotte Richardson, was [of the soloists] on [the] best form. Her sound is very connected with her whole and therefore is supported and grounded. This gives her a solid base from which one gets the impression that her facility and potential are great. She certainly stole the show vocally.'
Congleton Choral Society's concert of the Vivaldi Gloria and Chilcott Requiem in Congleton Town Hall, 12th November 2016
'Together with the Choral Society, [Charlotte] gave us a deeply moving musically enhanced word-picture of that poignant bible story....expressing wholeheartedly the great hope that Jairus' daughter will rise again.'
Congleton Chronicle's review of Congleton Choral Society's concert of Sir John Stainer's cantata The Daughter of Jairus, 23rd July 2016
'...[a] striking dramatic take on the familiar tale'
Planet Hugill's review of Caitlin Rowley's solo opera Breadcrumbs at the Tête à Tête Opera Festival, 11th August 2014
‘Charlotte Richardson’s fresh charm makes for a graceful, likeable Helena…Richardson is the most natural on stage, sounding crisply clear.’
Charlotte Valori, Bachtrack review of Trinity Laban's production of Britten’s A Midsummer Night's Dream, Blackheath Halls, July 2015
‘Charlotte Richardson…showed her operatic voice at its best, with flowing phrasing and beautiful colour…again demonstrate[ing] both her range and technical ability in a beautifully nuanced rendering.’
Peter Schroeder’s review of Corsley Festival Choir’s May 2015 performance of Rossini’s Petite Messe Solennelle
'Charlotte sang in our Rosenblatt Recitals competition and executed everything beautifully. If you can get to hear this lady sing, then you must.'
Adrian Pilbeam, Chairman of the North London Music Festival
‘A clear conveyance...’
Margaret Davies review for Opera Magazine of Jonathan Dove’s Mansfield Park (HGO), July 2013
Edmund Gordon’s review for Highgate Society Magazine, Jonathan Dove’s Mansfield Park (HGO), July 2013
‘A young performer with exceptional talent...her singing is breathtaking’
Michael McGlynn, Director of Anúna, 2012
‘Her voice has a rich sweetness which is most beguiling’
Fr Martin Eastwood, Preist In Charge of St Andrew Fulham Fields, 2012
‘A complete professional and absolutely reliable, yet still manages to bring her own personal signature to any performance’
Trevor Dawson, Organist, St Andrew Fulham Fields
‘A very strong technique supports a natural sound...I was truly inspired by [her] performance’
Russell Seaton (Director of Music, University of Washington)