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“…on first hearing, only Emily Gray’s doomed Madge […] came across in the round.  Madge’s moving lament for the suicide of her broken-minded friend Pitty was the opera’s high water mark, giving space for Gray’s attractively granular mezzo and skilful way with words.” – Opera Magazine, September 2016

 

“As in Stephen McNeff’s Banished last year, the mezzo-soprano Emily Gray stood out, a memorable Ottavia vocally and dramatically.  She’s not afraid to take risks, as witness her barely voiced ‘Addio Roma’, the first syllable endlessly stammered as she struggled to utter her farewell.  Given such command and her distinctively grainy mezzo, Gray is a charismatic singer-actress to watch.” – Opera Magazine, September 2017

 

“Among the cast, mezzo Emily Gray was outstanding as the rejected Empress Ottavia.” – Daily Express, July 2017

 

“One performer stood out as already knowing how to use her dramatic and vocal skills to the utmost: mezzo-soprano Emily Gray (Ottavia).” – The Guardian & Observer, July 2017

"Emily Gray is once more beyond criticism in this twilit world, Braid’s contribution providing the most remarkable bed of sound. At some 22 minutes, this is by far the longest offering on the disc, and indeed offers a sort of sonic sanctuary for the befuddled 21st- century human. Gray’s performance is impeccably controlled, while exuding an impression of restrained dignity. The superb recording presents the music in full detail and yet in an intimate setting. Gray sustains the threadbare lines of the final “It is thy will” brilliantly." - Colin Clarke, Fanfare, March 2018

"It was followed by the overture and two contrasting arias from the opera buffa Lo speziale (The Apothecary). This turned out to be one of the highlights of the evening, not least because of the singing of Emily Gray. Her first aria was a tour de force of dramatic writing and singing. As well as a very exciting singing voice (although billed as a soprano, her voice had a distinctly mezzoish colour to it), Emily Gray also demonstrated an excellent dramatic presence, drawing the audience into the world of the opera as she addressed us from the pulpit above the orchestra. The second aria was a gentler affair, revealing the more sensitive side of Emily Gray’s voice and persona. She was also a rare example of a singer who could sing a proper trill, without resorting to vibrato, of which she had commendably little."  - Andrew Benson Wilson, Early Music Reviews, April 2018

"Brain Kay directed a committed performance of The Armed Man, with the young mezzo-soprano Emily Gray contributing a vivid and intense portrayal of some of the works' more harrowing texts." - TRBC Magazine, May 2018

"The developing dilemmas of the ‘young people’ were thrown into relief by three excellent portrayals of the grown-ups. Emily Gray’s sleepy, dog-obsessed Lady Bertram, grinning indolently at life, became one of the opera’s comic powerhouses as her disconnection from reality grew ever wider – becoming even poignant at times." - Charlotte Valori, Bachtrack, August 2018

"Particularly memorable in the opening group was Emily Gray’s performance of In Flanders, marrying text and meaning, and shaping melody to produce a moving feeling of home sickness with a wonderful sense of stillness." - Stephen Miles and Harold Lorenzelli, AESS Prize Winners Concert Review (as part of the London Song Festival), November 2018