Reviews
|
|
|
Reviews |
||
Happily, the engaging mischievousness of Serena Kay’s boyishly
bold Hansel and Rebekah Coffey’s naughty –but- nice Gretel,
both sung with persuasive blend of boisterous energy and sweet-toned innocence. These Sopranos Serena Kay as Hansel and Rebekah Coffey as Gretel
- are energetic and engaging stars of a fine cast. OTC's artistic director Annilese Miskimmon made full use of the immense
hall of the East Wing for her brilliant production, creating a spine -
tingling veracity. The casting was excellent, with a well balanced team
of singing actors who achieved really convincing characterizations in
music and dialogue. Franzita Whelan was a touching Fidelio, vocally assured
throughout and Rebekah coffey's Marzelline took quite a bit of convincing
that she was not the man for her. Soprano Rebekah Coffey was light and youthful as Marzelline. Rebekah Coffey was all fresh-voiced enthusiasm as the daughter Marzelline. Rebekah Coffey (Love) as a delightfully sprightly and mischievous
silver-winged Cupid on a scooter. Rebekah Coffey does an appealing turn as the arch manipulator Love,
handling her routines on a scooter with impressive smoothness. Rebekah Coffey, a super little character singer languishing in a Bridesmaid’s chorus (one moment of beautiful singing), needs promoting to Susanna quick. |
| The Independent 2004 / The Marriage of Figaro, English Touring Opera. |
| Rebekah Coffey is a feisty Flora. |
| The Guardian 2003, The Turn of the Screw, English Touring Opera. |
| The name parts could hardly have been better cast. Rebekah Coffey's Gretel rightly came over as the more demure yet resourceful of the two [Hansel and Gretel], a Susanna to Mozart's Figaro. Not only did they sing with charm and distinction; they played so beautifully to one another that the German language was no bar to our understanding of their exchanges. |
| Opera 2003 / Hansel and Gretel, Stowe Opera. |
| A big Problem is to find two singers who can pass as 10- years-olds while packing the punch of big lyric voices. These two - Sarah Jillian Cox and Rebekah Coffey - are unnervingly convincing on stage, agile and a bit clumsy in the way children are as they horse about, and full of nerves and mood-swings in the forest….altogether a really well- sustained twosome that have some true high points, notably in the swinging Viennese waltz to which they duet after finding the gingerbread house. |
| Times / Robert Thicknesse/ Hansel and Gretel, Stowe Opera. |
| As Flora, Rebekah Coffey achieved what eludes many interpreters of this role- to look like a child and to sound as mature as Britten, must have wanted from the way he wrote the part. She made Flora a little horror, too, full of sly glances and dumb insolence. |
| Opera Magazine February 2003 Michael Kennedy. |
| Outstanding were Elizabeth Donovan as the Governess and Rebekah Coffey as Flora: the latter for her powerful ability to play the child. |
| Manchester Evening News, December 2002, Robert Beale. |
| Rebekah Coffey almost steals the show with her brilliant characterisation and stunning vocal ability, which belies her slight frame. |
| Manchester on Stage, Neil Eckersley December 2002. |
| The RNCM brought off a coup with the difficult role of Flora by finding a 23 –year-old student, Rebekah Coffey, who sang the rolepowerfully while looking like a 12-year-old (and what a little horror too). |
| The Sunday Telegraph, Michael Kennedy 2002. |
| Rebekah Coffey’s Flora demonic Flora offset the sinisterly adult composer of her brother with disturbing vehemence. Though Coffey’s Flora was surely darker than anything Britten had in mind, her compelling stage presence is a crucial part of what makes this production not only powerful, but also profoundly unsettling. |
| The Guardian December 2002, Pauline Fairclough. |
------------------------------------------ The Young Musicians’ Platform Scheme, a collaboration between
the Arts Council and the BBC, is one of the most valuable initiatives
of late for exceptionally talented younger performers. The award offers
a bursary for further study abroad and two professional engagements at
home. Soprano Rebekah Coffey took the opportunity and ran with it; both
presenting challenging material and reaching the far corners of the Ulster
Hall with ease. Coffey’s challenge was of a different order, pushing
her already formidable but continually developing technique, the soprano
took on the expressionist early songs of Alban Berg. No mean feat, but
Coffey, with her experience in the opera house conjured gripping and dramatically
charged depictions of some of the most enigmatic songs of the 20th century.
This compact and engaging late night recital at the Harty Room was
a platform for two of Ireland's brightest young muscial talents.Soprano
Rebekah Coffey is a current recipient of the BBC and Arts Council Young
Musicians Platform Bursary, and this recital acts as a prelude to a forthcoming
solo performance with the Ulster Orchestra.The evening proved Rebekah's
power as a dramatic singer. Already highly experienced in Opera, the soprano
is at her best with thoughtful characterisation and story telling. In
Duparc's To the Country Where War is Waged a woman awaits with a desolute
heart for the return of her lover from war and in the Richard Strauss
setting, Die Nacht, the darkness threatens to steal away all that is dear.
These mini epics were told in darkly etched strokes, Coffey's voice transforming
itself from moment to moment to create a rich tapestry of voices and sentiments.... Rebekah Coffey made a notable contributions here. Coffey produced
a memorable account of Domine Deus in the Vivaldi's Gloria. All the soloists sang with distinction. Special mention should go to
Rebekah Coffey and Nicola Mills who combined to sing the duet The Lord
is my Strength. Both soloists listened to each other throughout and the
result was a melodious tuneful duet that was the highlight of a very enjoyable
concert. |
Latest News | Biography | Performances | Repertoire | Reviews | CV | Photos | Interviews | Links | Contact |