Berthe in Blond Eckbert (English Touring Opera)
‘…subtly nuanced acting and expressive singing... You get a vivid feeling of traumas barely suppressed’
**** The Times
‘impeccable musicality and intonation…Flora McIntosh brought great strength to her Act 1 aria, telling her life story with intimate beauty’
**** Opera Now
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Mary, Queen of Scots (OperaUpClose)
‘Flora McIntosh and Philippa Boyle are superb, singing with subtlety and ferocity, on top of the music and in the drama’
Nick Kimberley, Evening Standard
‘Flora McIntosh’s fine Mary makes an impact’
Richard Morrison, The Times
‘Boyle’s impressive soprano matches the warmer but no less punchy mezzo of Flora McIntosh. Together they reign supreme.’
Amanda Holloway, The Stage
‘Flora McIntosh in the title role grips us throughout, singing with elan to the inevitable bloodthirsty climax’
Howard Gray, PhaceMag
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Grandmother in The Gardeners (Conway Hall)
‘The best singing came from Flora McIntosh’s vividly portrayed Grandmother’
Peter Reed, Classical Source
‘Flora McIntosh’s Grandmother made a strong mark and she used her lower range very dramatically’
Claire Seymour, OPERA
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Romeo in I Capuleti e I Montecchi (Grimeborn Festival)
‘Flora McIntosh is extraordinary, prowling, a half smile never far from her lips, the alphaist of alpha males in the cage. If her physical appearance hardly matches that description, her voice more than makes up for it, it’s visceral power searing into our souls. A magnificent performance.’
Gary Naylor, Broadway World
‘The velvety toned Flora McIntosh made much of Romeo’s youthful and impetuous ardour’
Anthony Evans, Planet Hugill
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Dryad in Ariadne auf Naxos (Longborough Festival Opera)
‘Flora McIntosh’s exceptional Dryad was warmly expressed and beautifully acted’
Charlotte Valori, Bachtrack
‘I was impressed and affected by the deep mezzo timbre, musicality and stage presence of Flora McIntosh as Dryad’ Sebastián Scotney, Critics Circle
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Pauline in Gounod’s Polyeucte (UCOpera, UK Premiere)
‘Flora McIntosh’s astonishing Pauline... is a really serious mezzo voice, bursting with focused passion, bringing much colour to a rather compromised heroine’
Robert Thickenesse, Opera Now
‘Flora McIntosh bought a palpable dramatic charge and enticing smokiness in the lower register to Pauline’
Yehuda Shapiro, Opera
‘The singers in principal roles gave fine performances, none more so than Flora McIntosh as Pauline. Showing power and passion throughout with a lovely vocal tone she was the most compelling character on stage’
Mark Ronan
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Alto soloist in Das Lied von der Erde (English National Ballet)
‘Wonderfully sung by mezzo-soprano Flora McIntosh and tenor Simon Gfeller’
Luke Jennings, The Observer
‘Each of the six songs is exquisitely performed by mezzo soprano Flora McIntosh and tenor Simon Gfeller’
Louise Winter, UK Theatre Network
‘Tenor Simon Gfeller and mezzo soprano Flora McIntosh... give superb solo performances of alternate songs’
Georgina Butler, Writing/Dancing
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Filipyevna in Eugene Onegin (OperaUpClose)
‘Flora McIntosh’s lovely mezzo gave Evie (Filipyevna) an edge and importance’
Peter Reed, Opera
‘Flora McIntosh does wonders with the underwritten character of Evie, aka Tchaikovsky's Filipyevna, here no longer an ancient nurse but the youthful companion of Larina’
Mark Valencia, Whatsonstage
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Romeo in I Capuleti e I Montecchi (Pop-Up Opera)
‘Flora McIntosh is convincing as the young tearaway Romeo and her vibrantly rich mezzo well tuned to Bellini’s sublime “bel canto” score.’
**** Clare Colvin, Sunday Express
‘Flora McIntosh sang Romeo with extraordinary vividness. Bruised, dishevelled and determined, she was nobody's dreamboat but a brooding, convincingly male figure of Hamlet-like darkness. The mezzo-soprano has to shoulder a substantial amount of the score, and to watch her character fall apart while she sustained a secure vocal line was thrilling’
Mark Valencia, Whatsonstage
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Carmen (OperaUpClose)
‘Flora McIntosh, delivered the kind of perceptive portrait rarely possible in traditional opera houses’
Nick Kimberley, Evening Standard
‘Flora McIntosh conveys a capricious and strong-willed woman who is also vulnerable. Her final, chilling confrontation with Anthony Flaum’s increasingly skin-crawling Jose, her dangerously besotted former lover, feels all too grimly real’ The Stage
‘Consistently first rate singing, for all her defiance, it was the vulnerable humanity of Carmen that lingered in Flora McIntosh’s sassy, confidently alluring enactment of the title role, a fitting complement to tenor Anthony Flaum’s ego-driven José’
Carol Main, The ScotsmanThe subtly nuanced acting and expressive singing of a fine cast... You get a vivid feeling of traumas barely suppressed