The Paradis Files, Graeae Theatre Company Spring 2022
‘The music offers vocal scope to Bethan Langford, outstanding in the central role’ Fiona Maddocks, The Guardian
‘Langford, herself visually impaired, makes a terrific Theresia, passionate, dignified and resilient… warm, insistent singing’ Tim Ashley, The Guardian
‘As the ‘blind enchantress’, mezzo soprano Bethan Langford is strong in character and voice; there’s an extra edge of conviction since she is herself visually impaired.’ The Independent
‘Bethan Langford let’s her excellent singing express her pain’ Nicholas Kenyon, the Telegraph
HMS Pinafore, English National Opera, Autumn 2021
‘Bethan Langford’s Hebe garners the most laughs of the evening… it’s good to see so many young singers getting their chance to shine in the spotlight, and shine they do’ Opera Today
’Bethan Langford offers a nice line in deadpan gormlessness’ Evening Standard
’Witty contributions from Bethan Langford’ The Guardian
’Bethan Langford in a stunning wig and frock shows just how the make the most of a minor part, remain in character and steal the show on numerous occasions, sometimes with just a glance’ Broadway Baby
’Splendid mezzo’ Arts Desk
’Bethan Langford as Cousin Hebe also works wonders with the relatively little material she is given and elicits some of the biggest laughs of the night’ Musical Theatre Review
’Similarly delightful was Bethan Langford’s Hebe… Langford’s physical language was superb’ Robert Hugill
’All poise and talons’ Opera Wire
The Lost Thing, Royal Opera House, Winter 2019/20
‘A standout turn from the sparky mezzo soprano Bethan Langford’ The Times
The Magic Flute, Scottish Opera, Summer 2019
… and the burlesque-influenced three handmaidens to the Queen of the Night, Jeni Bern, Bethan Langford and Sioned Gwen Davies, who comprehensively steal the early scenes of the production' The Herald
'Quirky and camp in their delivery, and exceptionally skilled in their vocals, Bethan Langford, Jeni Bern and Sioned Gwen Davies make a marvellously mischievous trio' Art Mag
The Rape of Lucretia, Grimeborn Festival at the Arcola Theatre, Summer 2018
'Bethan Langford, a near replica of Whistler’s virginal, auburn-haired White Girl, was a poised, stricken Lucretia (look out for her as a new Scottish Opera emerging artist next year' The Guardian
'And as Lucretia, the role Britten wrote for the contralto Kathleen Ferrier, Langford is simply outstanding. She dominates the stage whenever she is present and her mezzo voice seems made for the deeper passages of a score that make real demands of a young singer. A performance of real quality.' Plays to See
'The self-possessed, noble-voiced Bethan Langford' Opera Magazine
'Bethan Langford’s Lucretia looks half-Pre-Raphaelite fantasy, half-desperate housewife, until her violation rips through her empty glamour to reveal genuine anguish' Evening Standard
12:40 with the National Opera Studio, July 2018
'Bethan Langford was excellent as the 'pig/deer-like creature' that gradually transforms into the whale over the course of the number, with the librettist Ruth Mariner and the composer Cameron Dodds harnessing fully the potential of her captivating stage presence.' Gavin Dixon, Opera Magazine
Written on Skin, Melos Sinfonia, Autumn 2017
'Bethan Langford brought a refreshing normality to (her) role of Marie... (she) sang with firmness and warmth (her) mezzo discreetly imperious' Opera Magazine
'Terrific supporting performances, too, from Bethan Langford' The Times
'The strong casting was completed by Bethan Langford and Nick Pritchard as respectively Angels 2 & 3 ... both singers accomplished and versatile artists vividly engaging with the drama' Classical Source
Bethan Langford brought a refreshing normality to [her] role of Marie…[she] sang with firmness and warmth, [her] mezzo discreetly imperious”
Cosi fan tutte, Bury Court Opera 2017
'The six principles made a sparkling team... Bethan Langford led in the acting stakes, and supplied a delicious voice, particularly lovely in the middle range.' Roderic Dunnett, Opera Now Magazine
'Bethan Langford as Dorabella is stylish in every way, making the most of her music and of her comic opportunities.' Owen Davies, Plays to See
The Pilgrimage of the Rose, Oxford Lieder Festival, October 2016
'Bethan Langford’s gorgeous mezzo made some superb contributions.... The sense of mutual discovery was palpable, as was the audience’s engagement with the musical charm and the pathos of the unfolding tale...For many this was an unexpected highlight of the festival.' Roy Westbrook, Bachtrack
The Rape of Lucretia, Guildhall School Opera, February 2016
'Bethan Langford, who in her classically pleated robe radiated a Kathleen Ferrier-like dignity and self-possession as Lucretia, has a mezzo of considerable quality, and her English poise contrasted powerfully with the misery of her downfall, which was very movingly staged.' Classical Source
'As Lucretia, Bethan Langford’s mezzo-soprano is rich and nuanced, and yet still carries a beautiful sense of sweetness.' Music OMH
'Bethan Langford’s serene Lucretia, sure of her place in her husband’s affections, is transformed into a traumatised woman after the violence committed on body and soul. Her performance remains in the mind long afterwards. ' The Sunday Express
Le donne curiose, Guildhall School opera, November 2015
'A number of voices to watch register, including Bethan Langford's Beatrice.' The Guardian
'Notably Bethan Langford’s sourpuss Beatrice, whose expressive face and comic timing provide plenty of Stepford Wife energy in her rapid exchanges' Bachtrack
'Bethan Langford’s excellent mezzo-soprano voice is complemented by astute gestures as she reveals Beatrice’s impatience by kneading dough and chopping vegetables in time with the music' The Arts Desk
'Bethan Langford conveyed Beatrice’s indignant exasperation through both the richness of her mezzo soprano and the violence that she inflicted on Ottavio’s pasta supper.' Opera Today
Wigmore Hall recital, April 2015
'Langford was focused and direct, the tone open and well-rounded. The steadiness of line, despite the low tessitura and long phrases, was impressive and typical of the considerable composure and maturity that she displayed throughout the recital'
'Langford achieved a thrilling brightness at the top and demonstrated impressive vocal agility'
'Langford was a clear and unaffected storyteller' Claire Seymour, Opera Today
See full article:
http://www.operatoday.com/content/2015/04/bethan_langford.php
Oxford Lieder Festival closing concert, November 2014
'Bethan Langford – currently a student at the Guildhall School – opened the recital with three songs, singing with a steely steadiness and vocal maturity that belied her young age. There was also a roundedness to her voice which was somewhat reminiscent of Elly Ameling... Nacht und Träume ...received ideal clarity and seamlessness.' Seen and heard International
East O' the Sun, West O' the Moon, Tete a Tete Opera Festival July 2014
'The magnificent Bethan Langford, who performs three different witches trapped in a single body... is a tour de force: playing three parts, in one fast-paced solo aria, to an audience on two sides of the room, Langford seems not only unphased but positively relishing the challenge.' Bachtrack
Die Fledermaus, Clonter Opera July 2013
'As Prince Orlofsky, Bethan Langford... had stage presence and showed herself to be an outstanding Mezzo.' Manchester Theatre Awards
'Bethan Langford made a real contribution as Prince Orlofsky despite joining the little company only at the very last minute because of injury. There may have been backstage drama but the show went on, and went on very well.' Manchester Evening News.
A Soldier and a Maker, Barbican Centre, April 2012
'There was a quietly scene-stealing performance from Bethan Langford' Opera Magazine
'The most remarkable portrayal to my mind is Bethan Langford as the composer's sister Winifred' Seen and Heard International
'A terrifically nuanced performance from Bethan Langford, heartbreaking as Gurney's loyal sister.' Classicalsource.com
'It is is the bald accounts of Gurney's sister Winifred (Bethan Langford)... that the drama finds it centre' New Statesman
‘The music offers vocal scope to Bethan Langford, outstanding in the central role’ Fiona Maddocks, The Guardian
‘Langford, herself visually impaired, makes a terrific Theresia, passionate, dignified and resilient… warm, insistent singing’ Tim Ashley, The Guardian
‘As the ‘blind enchantress’, mezzo soprano Bethan Langford is strong in character and voice; there’s an extra edge of conviction since she is herself visually impaired.’ The Independent
‘Bethan Langford let’s her excellent singing express her pain’ Nicholas Kenyon, the Telegraph
HMS Pinafore, English National Opera, Autumn 2021
‘Bethan Langford’s Hebe garners the most laughs of the evening… it’s good to see so many young singers getting their chance to shine in the spotlight, and shine they do’ Opera Today
’Bethan Langford offers a nice line in deadpan gormlessness’ Evening Standard
’Witty contributions from Bethan Langford’ The Guardian
’Bethan Langford in a stunning wig and frock shows just how the make the most of a minor part, remain in character and steal the show on numerous occasions, sometimes with just a glance’ Broadway Baby
’Splendid mezzo’ Arts Desk
’Bethan Langford as Cousin Hebe also works wonders with the relatively little material she is given and elicits some of the biggest laughs of the night’ Musical Theatre Review
’Similarly delightful was Bethan Langford’s Hebe… Langford’s physical language was superb’ Robert Hugill
’All poise and talons’ Opera Wire
The Lost Thing, Royal Opera House, Winter 2019/20
‘A standout turn from the sparky mezzo soprano Bethan Langford’ The Times
The Magic Flute, Scottish Opera, Summer 2019
… and the burlesque-influenced three handmaidens to the Queen of the Night, Jeni Bern, Bethan Langford and Sioned Gwen Davies, who comprehensively steal the early scenes of the production' The Herald
'Quirky and camp in their delivery, and exceptionally skilled in their vocals, Bethan Langford, Jeni Bern and Sioned Gwen Davies make a marvellously mischievous trio' Art Mag
The Rape of Lucretia, Grimeborn Festival at the Arcola Theatre, Summer 2018
'Bethan Langford, a near replica of Whistler’s virginal, auburn-haired White Girl, was a poised, stricken Lucretia (look out for her as a new Scottish Opera emerging artist next year' The Guardian
'And as Lucretia, the role Britten wrote for the contralto Kathleen Ferrier, Langford is simply outstanding. She dominates the stage whenever she is present and her mezzo voice seems made for the deeper passages of a score that make real demands of a young singer. A performance of real quality.' Plays to See
'The self-possessed, noble-voiced Bethan Langford' Opera Magazine
'Bethan Langford’s Lucretia looks half-Pre-Raphaelite fantasy, half-desperate housewife, until her violation rips through her empty glamour to reveal genuine anguish' Evening Standard
12:40 with the National Opera Studio, July 2018
'Bethan Langford was excellent as the 'pig/deer-like creature' that gradually transforms into the whale over the course of the number, with the librettist Ruth Mariner and the composer Cameron Dodds harnessing fully the potential of her captivating stage presence.' Gavin Dixon, Opera Magazine
Written on Skin, Melos Sinfonia, Autumn 2017
'Bethan Langford brought a refreshing normality to (her) role of Marie... (she) sang with firmness and warmth (her) mezzo discreetly imperious' Opera Magazine
'Terrific supporting performances, too, from Bethan Langford' The Times
'The strong casting was completed by Bethan Langford and Nick Pritchard as respectively Angels 2 & 3 ... both singers accomplished and versatile artists vividly engaging with the drama' Classical Source
Bethan Langford brought a refreshing normality to [her] role of Marie…[she] sang with firmness and warmth, [her] mezzo discreetly imperious”
Cosi fan tutte, Bury Court Opera 2017
'The six principles made a sparkling team... Bethan Langford led in the acting stakes, and supplied a delicious voice, particularly lovely in the middle range.' Roderic Dunnett, Opera Now Magazine
'Bethan Langford as Dorabella is stylish in every way, making the most of her music and of her comic opportunities.' Owen Davies, Plays to See
The Pilgrimage of the Rose, Oxford Lieder Festival, October 2016
'Bethan Langford’s gorgeous mezzo made some superb contributions.... The sense of mutual discovery was palpable, as was the audience’s engagement with the musical charm and the pathos of the unfolding tale...For many this was an unexpected highlight of the festival.' Roy Westbrook, Bachtrack
The Rape of Lucretia, Guildhall School Opera, February 2016
'Bethan Langford, who in her classically pleated robe radiated a Kathleen Ferrier-like dignity and self-possession as Lucretia, has a mezzo of considerable quality, and her English poise contrasted powerfully with the misery of her downfall, which was very movingly staged.' Classical Source
'As Lucretia, Bethan Langford’s mezzo-soprano is rich and nuanced, and yet still carries a beautiful sense of sweetness.' Music OMH
'Bethan Langford’s serene Lucretia, sure of her place in her husband’s affections, is transformed into a traumatised woman after the violence committed on body and soul. Her performance remains in the mind long afterwards. ' The Sunday Express
Le donne curiose, Guildhall School opera, November 2015
'A number of voices to watch register, including Bethan Langford's Beatrice.' The Guardian
'Notably Bethan Langford’s sourpuss Beatrice, whose expressive face and comic timing provide plenty of Stepford Wife energy in her rapid exchanges' Bachtrack
'Bethan Langford’s excellent mezzo-soprano voice is complemented by astute gestures as she reveals Beatrice’s impatience by kneading dough and chopping vegetables in time with the music' The Arts Desk
'Bethan Langford conveyed Beatrice’s indignant exasperation through both the richness of her mezzo soprano and the violence that she inflicted on Ottavio’s pasta supper.' Opera Today
Wigmore Hall recital, April 2015
'Langford was focused and direct, the tone open and well-rounded. The steadiness of line, despite the low tessitura and long phrases, was impressive and typical of the considerable composure and maturity that she displayed throughout the recital'
'Langford achieved a thrilling brightness at the top and demonstrated impressive vocal agility'
'Langford was a clear and unaffected storyteller' Claire Seymour, Opera Today
See full article:
http://www.operatoday.com/content/2015/04/bethan_langford.php
Oxford Lieder Festival closing concert, November 2014
'Bethan Langford – currently a student at the Guildhall School – opened the recital with three songs, singing with a steely steadiness and vocal maturity that belied her young age. There was also a roundedness to her voice which was somewhat reminiscent of Elly Ameling... Nacht und Träume ...received ideal clarity and seamlessness.' Seen and heard International
East O' the Sun, West O' the Moon, Tete a Tete Opera Festival July 2014
'The magnificent Bethan Langford, who performs three different witches trapped in a single body... is a tour de force: playing three parts, in one fast-paced solo aria, to an audience on two sides of the room, Langford seems not only unphased but positively relishing the challenge.' Bachtrack
Die Fledermaus, Clonter Opera July 2013
'As Prince Orlofsky, Bethan Langford... had stage presence and showed herself to be an outstanding Mezzo.' Manchester Theatre Awards
'Bethan Langford made a real contribution as Prince Orlofsky despite joining the little company only at the very last minute because of injury. There may have been backstage drama but the show went on, and went on very well.' Manchester Evening News.
A Soldier and a Maker, Barbican Centre, April 2012
'There was a quietly scene-stealing performance from Bethan Langford' Opera Magazine
'The most remarkable portrayal to my mind is Bethan Langford as the composer's sister Winifred' Seen and Heard International
'A terrifically nuanced performance from Bethan Langford, heartbreaking as Gurney's loyal sister.' Classicalsource.com
'It is is the bald accounts of Gurney's sister Winifred (Bethan Langford)... that the drama finds it centre' New Statesman
