Cosi fan tutte‚ English Touring Opera

Mitchell’s high‚ flexible soprano (March 2013)

...Mitchell (Fiordiligi) does both her big arias proud

London Evening Standard (March 2013)

Laura Mitchell made an excellent Fiordiligi‚ throwing herself with abandon at the great vocal showpieces of the evening. Her soprano was bright‚ delicately controlled‚ and boasting a fine upper register. It seemed rather a cruel trick asking her to climb atop the swing near the climax of ‘Come scoglio’ and continue to sing even as she moved through the air‚ yet she pulled it off with élan. Her ‘Per pietà’ was poignantly expressed‚ the beauty of her singing well supported by the orchestra‚ which succeeded in underscoring both the passion and the tenderness of the aria'

Opera (March 2013)

Laura Mitchell and Kitty Whately were beautifully matched as the sisters‚ creating a very real sense of belonging together...She displayed admirable firmness and strength in her arias‚ with a nice shaping of line. Hers was a youthful Fiordiligi‚ serious but still flirtatious‚ not as uptight as in some productions

Planet (March 2013)

...the evening is a success‚ thanks to the singers and players. Laura Mitchell successfully conveys the troubled conscience that broadens Fiordiligi’s character

The Stage (March 2013)

'Laura Mitchell’s soprano moulds the troubled psyche of her role with high musical intelligence

Times (March 2013)


The Magic Flute‚ Scottish Opera

Laura Mitchell makes a lovely Pamina

Guardian (November 2012)

For once‚ the Tamino/Pamina pairing is robust enough to make us care that they make it through their trials. Laura Mitchell’s Pamina is no wilting flower but a lively‚ engaging young woman

The Opera (November 2012)

...and Laura Mitchell’s tender‚ light-toned Pamina‚ deserve mention

Observer on Sunday (October 2012)

The big central relationships all play out well...Laura Mitchell pushes and probes Pamina’s emotional level to the edge

The Stage (October 2012)


Béatrice et Bénédict‚ Welsh National Opera

Musically the high points of the evening were arias sung by the three ladies; Hero’s beautiful opening aria ’Je vais le voir’ sung by the soprano Laura Mitchell‚ the ravishing nocturne ’Nuit paisible et sereine’‚ a magical duet between Hero and the contralto Anna Burford as Ursula at the end of Act I and lastly the trio ’Je vais d’un coeur aimant’ exquisitely sung by Hero‚ Ursula and Beatrice

Music (April 2012)

Laura Mitchell has moments of real splendour in Hero’s extraordinary Act 1 aria with its huge written-out cadenza (what did Berlioz think he was writing?)‚ and the poised beauty of her “Nuit paisible et sereine!” duet with the dark-toned Ursula of Anna Burford ends the act on a high musical note

Arts (February 2012)

It’s performed by seven accomplished singer-actors...No praise can be too high for mezzo Julia Riley in the title role‚ or for the bewitching Laura Mitchell as Romilda...Covent Garden would count itself lucky to host a Baroque show of this calibre

Independent (October 2011)

Musically‚ however‚ it is gripping from take-off to landing...the cast is among ETO’s most impressive yet. Particularly good are Julia Riley – a powerful mezzo who impressed in last season’s Clemenza di Tito – and the soprano Laura Mitchell‚ whose technically accomplished and emotionally clear Romilda both leads the opera’s brave excursion from comedy into tragedy and returns to tell the tale

Observer on Sunday (October 2011)

Romilda is played by Laura Mitchell in the well-starched uniform of an RAF nurse. She is first seen through a glazed door in the front wall of the airfield’s hospital block (which along with a highly animated orange windsock comprises the set for most of Act I.) There‚ she entertains the assorted wounded with her mocking of Xerxes’ plane fetish in “Oh‚ hark” (“O voi che penate”.) The next aria‚ “Swift from the mountains” (“Va godendo”) reveals a voice that is full and agile. It is a lovely sound that is at its most effective in the arias that are playful or reflective

Opera (October 2011)

Laura Mitchell’s Romilda and Paula Sides’ Atalanta both make a strong showing

The Stage (October 2011)

...and romantic interludes with Laura Mitchell’s ravishingly sung‚ radiantly adorable Romilda

Whats on (October 2011)


Rigoletto‚ Grange Park Opera

For me‚ the star of the evening was Laura Mitchell as Gilda‚ however. She played the part at Nevill Holt in 2009 and by now has come to inhabit it‚ in a way that is totally convincing on stage. I have heard “Caro nome” better sung technically‚ with sustained sotto voce expressiveness‚ but rarely with greater lyrical ardour and with such intensity and passion. Mitchell manages to look the part of a tall‚ slightly gangly sixteen year old‚ and her stage movement is terrific – disconcertingly and frighteningly shattered by her first sexual encounter with the Duke (and bearing all the physical signs of violent rape) – she stumbles her way on to her final‚ selfless sacrifice. The voice is well focused and encompasses Gilda’s range with ease: on this showing‚ Mitchell will be singing Gilda in some bigger houses very soon

Musical (June 2011)

Laura Mitchell‚ in an impressively sung and acted performance‚ portrays a sheltered Gilda who has to learn about the nastier side of human nature all too quickly

Oxford Times (June 2011)

Laura Mitchell sings the role of Rigoletto’s daughter Gilda with impeccable command

The Stage (June 2011)