‘soprano soloist Amy Carson and the London Mozart Players are on their usual excellent form’
Clive Osgood Magnificat – Convivium Records. Review by Adrian Horsewood, Cathedral Music Magazine, 2024
There was lovely singing from the soprano soloist Amy Carson in the second movement’s setting of Rossetti’s The Virgin of the Rocks. When it later came to the Agnus Dei, she was to perform, for me, the standout moment of the whole evening, with the chorus in imploring accompaniment.
John de la Coeur, Exeter Festival Chorus, 2024
Carson’s expressive soprano voice conveys the emotions with warmth and sincerity. Read the full review…
Corin Nelson-Smith, Expressive Audio, 2023
Bach’s Magnificat is exciting and immediate throughout. Amy Carson’s Et exsultavit spiritus meus’ is particularly delightful.
Edward Breen, Gramophone, 2019
Amy Carson was stylish in ‘Et exsultavit’ with a fine projection of the words.
Robert Hugill, December 2018
The musical highlight of this cantata is the complex duet for soprano and bass, “Gott, ach Gott, verlass die Dienen”. Soprano Amy Carson and bass Robert Davies had beautifully complementary voices; Carson’s flawless attack was particularly noteworthy.
Colin Clarke, Seen and Heard International, 04/08/17.
She sang a heartrending version of Blute Nur and…gave us the most emotional and spiritual moment of the evening with Aus Liebe.
Luis Gago, El Pais St Matthew Passion, in San Sebastián. Monteverdi Choir and Orchestra, Sir John Eliot Gardiner.
Carson breathed life into her phrases, as well as revealing considerable technical command.
Dominic Wells, Opera Britannia. Fairy Queen.
The drama is all in the music, and in its spare, strong characterisation of the young wife herself, sung sweetly by Amy Carson.
Hilary Finch, The Times. The Cumnor Affair.
Still, there are moments when passions fly, especially when Amy Carson reveals the wronged woman’s broken heart. Her voice carries a wealth of feeling.
Nick Kimberly, Evening Standard. The Cumnor Affair.
Amy Carson had many good notes and touching phrases.
Andrew Porter, Opera. The Cumnor Affair.
And the young soprano Amy Carson caught the ear as the Spirit.
Richard Morrison, The Times. Dido and Aeneas.
The performances are excellent, particularly newcomer Amy Carson, who could have a huge career ahead of her on the strength of her work here.
Matthew Turner, The ViewLondon Review. The Magic Flute.
Amy Carson, the cast’s biggest unknown, a cambridge student when Branagh picked her, offers an eloquent Pamina, full of potential and spunk. She doesn’t shrivel even when singing alongside Lyubov Petrova’s blowtorch Queen of the Night.
Geoff Brown, Opera. Pamina.
Except for the unknown Amy Carson, very sweet and credible as Pamina, Branagh has cast the romantic leads with rising opera stars who sing superbly but fall straight into the old trap of giving stage performances in close-up.
Tim Robey, Daily Telegraph. Pamina.
Amy Carson, a gorgeous, bright-eyed, charming Pamina.
Framescourer, London UK. IMDB. Pamina.
Petrova makes a good Queen of the Night and Carson a substantial Pamina.
Derek Elley. Variety. Pamina.
Bristolian newcomer Amy Carson is outstanding as love-interest Pamina, flagging a depth of emotion that plays alongside the limpid widescreen photography and soaring overhead shots.
Lee Marshall, The Guardian. Pamina.
For Pamina, Branagh rejected what Conlon described as several young, attractive and proven singers for an even younger, more beautiful and completely unproven British soprano in her early 20s, just out of school and without a professional résumé. There is no question that Amy Carson looks the part. She brings a smoldering sensuality to the screen and a fresh-as-morning-dew voice.
Mark Swed, Times Music Critic. LA Times. Pamina.
Amy Carson as Dido was a deep, honeysweet delight; her voice and performance evoked the dignity, fear and deep emotion of Dido sympathetically.
Alice Fordham, Varsity Cambridge Dido and Aeneas. ADC Theatre. Cambridge University Opera.
