Reviews for Sandra Porter |
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"an accomplished, striking and sensitively executed performance. Heart-stopping moments in ‘Süsser Freund’ and the poignant final lied, left us wanting to hear it all again. The highlight, though, was Sally Beamish’s soliloquy ‘Clara’" |
| Helen Astrid MarkAspen.com July 2019, All Saints Isleworth |
| "Sandra Porter's trembling Suzuki was beautifully observed, moving from absolute humility to refreshing directness" |
| Charlotte Valori Operissima July 2018, Iford Arts |
| "Sandra Porter is the faithful, angry and anguished Suzuki " |
| Fine Times Recorder July 2018, Iford Arts |
| "Sandra Porter in the character cameo role of Dame Marthe brought a welcome shot of humour to the sludgy libretto." |
| Cathy Desmond Cathy's Reviews February 2015, Everyman Theatre Cork |
| "Sandra Porter in the cameo role of Marthe Schwarlein is commendable for the comic relief she provided during the opera" |
| Sophie Lynch GoldenPlec February 2015, Everyman Theatre Cork |
| "You actually felt Katisha's grief when she first thought Nanki Poo was dead." |
| "Sandra Porter contributed a really moving, well sung, characterful Katisha who managed to make the figure moving and funny." |
| operanotes
December 2013 |
| The Mikado at White Rock Theatre, Hastings, Co-opera Co.
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| "Sandra Porter's Katisha was beautifully, movingly sung" |
| Hugh Canning in Opera Magazine
November 2013 |
| The Mikado at Hackney Empire, Co-opera Co. |
| "Sandra Porter's Katisha", drawing heavily on Antony Sher's approach to Richard III, was fascinating and eventually remarkably sympathetic" |
| Lark Reviews December 2013, Hastings, Co-opera Co. |
| "Sandra Porter made it (Berta) her own, singing strongly and with excellent projection" |
| Musical Criticism July 2010, Berta, Barber of Seville, Stanley Hall Opera |
| “Only a handful of people on stage seemed to understand the need for clear tones that carry in the back row, the most notable being… Sandra Porter as Filipyevna. Porter was an outstanding nurse, more knowing Despina than doddery Nursey from ‘Blackadder’, and with clarity of diction and tone. She proved time and time again that excellent character acting and great projected singing are not mutually incompatible!“ |
| Kirsty Young in Opera Talent, Filipyevna, Riverside Opera |
| "Sandra Porter's Annina is good" |
| Tom Sutcliffe in the Evening Standard, Annina, La Traviata, Opera Holland Park |
| ”Sandra Porter as Mary Queen of Scots was outstanding" |
| The Scotsman, Queen Mary, Queen in the Golden Tree by Bryan Kelly - new commission, George Square Theatre, Edinburgh |
| "Porter proved to be a rich, honeyed but never cloying mezzo with a smooth, firmly focused upper range, devoid of any shrillness" |
| The Scotsman, recital, Edinburgh University |
| "Sandra Porter is an accomplished artist… She is a considerable actress and all her skill was displayed especially in the humorous numbers” |
| The Scotsman, Clydesdale Bank Recital Series, Burrell Collection, recital with Malcolm Martineau |
| "The fiery Gypsy Songs of Brahms suited the dark quality of her voice, while she was able to inject a rhythmic vitality into these passionate miniatures" |
| The Times Ed Sup, recital, Hutchison Hall,Glasgow with Malcolm Martineau |
| "Sandra Porter sang a group of operatic arias with striking pose and delivery" |
| Chester Times, The Chester Ladies Choir |
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"Sandra Porter proved herself a success in Songs for the Four Parts of the Night as in Aztec Myth through her expression and unerring intonation" |
| Nurnberger Nachrichten, Germany, Soundstrata, Nurnberg contemporary music festival |
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“Porter has a finely focused voice and admirably secure delivery”
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| The Glasgow Herald, Mahler 3, Scottish Symphonia
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| "Mezzo-soprano Sandra Porter was languid and captivating" |
| The Glasgow Herald, Ravel’s Chansons Medecasses, The Chamber Group of Scotland, Queens Hall, Edinburgh
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| "Each moment of this increasingly desolate music was keenly felt, each emotion
perfectly caught" |
| The Glasgow Herald, The Willow Branches by Thomas Wilson, BBC Radio 3 recital, St Mary’s, Hadington |
| "I have never, anywhere enjoyed a recital more. It was ‘knock out’"
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| The Alexander “Greek” Thomson Society, Glasgow |
| “The flamboyant gestures, shifting emotional demands, and changes of tempo in Die Drei Zigeuner were superbly done as was the serene Bist du…" |
| The Scotsman, recital, Dollar Music Society |
| "An enchanting evening of French song…infinite subtle artistry" |
| The Glasgow Herald, recital, Glasgow University |
| "Porter captured the Mahler-like melancholy of the drinking song" |
| The Glasgow Herald, The Willow Branches by Thomas Wilson, Queen’s Hall |
| “Sandra Porter’s mezzo-soprano found an easy route through the many different personalities. From playful flirtation through blissful marriage to woeful death, Porter’s was a captivating interpretation." |
| The Glasgow Herald, Frauenliebe und Leben, Radio 3 concert and live broadcast |
| “This delightful programme entertained a large and appreciative audience from start to finish” |
| The Glasgow Herald, Glasgow West End Festival, (Naughty Baby) cabaret recital |
| “…Sandra Porter conjured up enough musical naughtiness, the sort you could identify with a 1930s cabaret. …(she) had the skill to bring out every nuance of the songs and portrayed a laid-back, casual nonchalance..” |
| Dundee Music Festival,Dundee Courier, Naughty Baby cabaret recital |
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