miniature monodramas, while the mother and the starving child in Mahler's Das Irdische Leben, or the perversely gothic dialogue in Schubert's Der Zwerg between the murderous dwarf and the queen who accepts his right to strangle her - were vividly realised.’
R. Strauss's Ariadne auf Naxos
The Independent: 'Coote's fretful composer is a fabulous find: her tone, strength and personality are entrancing; her range and variety should get better still.'
The Guardian: 'Alice Coote's highly strung Composer oozes emotional energy - her singing is glorious.'
The Independent on Sunday: 'Equally rewarding is Alice Coote's Composer: a trim and convincing naïf with a voice as powerful and enigmatic as a big cat. That Coote's phrasing also shows delectable taste and refinement is secondary to the animal impact of her sound.'
New York Times: Strauss’s Der Rosenkavalier
‘More uncommon, though, was the sexual hunger and emotional vulnerability she (the Marschallin)revealed during the frolicking love scenes with Count Octavian, here the appealing mezzo-soprano Alice Coote, who convincingly projected the androgynous allure and hormonal 17-year-old boy… The bright-voiced soprano Elizabeth Futral, adorable with her curly locks and sheer white dress, was a delightful Sophie. She and Ms. Coote sang radiantly during the most ravishing love-at-first-sight duet in all of opera.’