| Opera |
Review |
Reviewer |
| Odysseus Unwound (Julian Grant) - Tête à Tête Alexandra Palace |
The singing is very good, with Louise Mott (Penelope) and Sadhbh Dennedy (Nausicaa) outstanding in their roles. |
Metro - Warwick Thompson (12/10/06) |
| Push! (David Bruce) - Tête à Tête Riverside Studios Hammersmith
|
The highpoint of the whole piece was a solo aria by Louise Mott playing a mother who has lost her baby and was clinging on to his fading memory. The music soared with lyrical gorgeousness reminding one of the salty marsh sounds of early Britten. |
CambridgeLocal Secrets website - Mike Levy (07/06) |
| On the way, pretensions were popped, heartstrings tugged. In the most harrowing episode, a prisoner, chained to her warder, prepared to have her baby taken away, while the adoptive parents got the nursery ready. Last but one, a woman meditated on an impending stillbirth, beautifully sung by Louise Mott. |
Robert Maycock - The Independent (21/06/06) |
| With skilful doubling, the eight singers represent a cast of, if not thousands, then at least dozens, and everyone acts without too much operaticising: Louise Mott is outstanding as Angela, whose baby is still-born. |
Nick Kimberley - Evening Standard (20/06/06) |
| 'There is some particularly fine singing from Louise Mott’s forlorn Angela.' |
Edward Bhesania - The Stage (20/06/06) |
| 'At times the vocals sit perilously on top of this hurly-burly. Considering the sharp wit of Anna Reynolds’s libretto it’s a pity when words become submerged. But given the right voice, they hit home with ease; Louise Mott, as the mother faced with birth and death together, is especially eloquent.' |
Geoff Brown - The Times (21/06/06) |
| Amadigi di Gaula (Handel) - Iford |
"Louise Mott is a circus ringmistress with a line in hypnotism, her gear, from guns to lipstick, stashed in her memorable embonpoint. Mott is full of fury, sorrow and unconquerable love." |
Robert Thicknesse - The Times |
| Ariodante (Handel) - English Touring Opera |
...as Ariodante, Louise Mott sings with persuasive freedom... |
Nick Kimberley - Evening Standard (17/10/03) |
| Alfred (Thomas Arne)- The Early Opera Company, Linbury Studio Theatre, Royal Opera House, London |
"A subdued episode when a woman mourns her dead husband had seemingly little place in the sketchy plot, but provided a welcome opportunity to hear Louise Mott, a polished and expressive mezzo." |
Erica Jeal - The Guardian |
| "Louise Mott as Edith, a woman whose lover has been killed in the war, gave a completely compelling performance that stood out a long way from the rest. Mott is definitely a star." |
H.E. Elsom |
| Peter Maxwell Davies The Martyrdom of St Magnus - The
Opera Group, Round Chapel, Hackney, London |
 "Louise
Mott's searingly intense performance [of Blind Mary] caught both the mythical
and human dimensions of the role. She achieved a superb mastery of the
supernatural emotional and musical range of the part - from the inwardness
of her opening humming, which seemed to colour the dark silence of the
auditorium, to her final, impassioned railing aganist the cycles of sacrifice
and death. And this brilliant vocal display was complimented by the strength
of Mott's dramatic characterization. In the concluding scene, the Blind
Woman miraculously regains her eyesight. But there was little sense of
hope in Mott's performacne, as her blindness had become a metaphor for
the lack of vision and understanding among the warring men. Mott's Blind
Woman remained unaffected by the impassive, plainchant-inspired chorus
of Saints. She continued as desolate and desperate as before lighting and
extinguishing a single candle while imploring the audience to consider
when the senseless suffering and cruelty will cease." |
Tom Service - Opera |
| G.F. Handel Agrippina - The Early Opera Company, St John's, Smith Square, London |
"Louise Mott rightly underplayed Agrippina's villainy with the straightest of faces and sang with consistently beautiful and expressive mezzo tone." |
Rodney Milnes - The Times |
| G.F. Handel Serse -The Early Opera Company , Steiner Theatre, London |
 ...a quite remarkable Serse...lovely of timbre, virtuosic, exciting in the delivery of her two great bravura numbers... |
Hugh Canning - Opera |
| ...Louise Mott's performance in the title-role was well worth the price of a ticket. Her singing was passionate throughout and she came into her own with stunning renditions of the lengthier arias. |
Rebecca Agnew - Opera Now |
| H. Purcell Dido and Aeneas -The Early Opera Company, St John's, Smith Square, London |
Louise Mott's firm, satin-sheeny tone was perfect for Dido: her poised singing of the Lament held the full, appreciative house breathless. |
Rodney Milnes - The Times |
| Louise Mott was a powerful, intense, Dido ... One to watch. |
H.E. Elsom |
| Mark-Anthony Turnage Greek - London Sinfonietta, Queen Elizabeth Hall,
London - 17th/18th April 1998 |
...Louise Mott sang with opulent tone and a musical sensibility that did full justice to Turnage's soaring vocal lines. |
The Times |
| But it was Louise Mott's orgasmic act two 'Love Aria', in which she hymned the 'flowing river' of Eddy's body while crawling on all fours across the floor of their now up-market cafe, that hit the emotional G-spot of the evening. |
Mark Pappenheim - The Independent |
| S. Barber Vanessa - The Other Theatre Company - Lyric Studio Theatre,
Hammersmith, London |
Louise Mott is very exciting [as Erika] in this show-stealing part - thanks to the powerful and wonderous soft sheen in her voice. |
Tom Sutcliffe - Evening Standard |
| ...one of the most impressive young mezzos in London at the moment. |
H.E. Elsom
|
| G. Rossini L'Italiana in Algeri - St Albans Chamber Opera - Abbey Theatre,
St Albans, Herts |
...Louise Mott is an outstanding mezzo with warm, velvety tone, clear diction, exemplary intonation and an ability to throw off Rossinian coloratura with effortless ease. |
Robert Boas - Opera |
| G.F. Handel Samson - St Albans Chamber Opera |
I was also impressed by the beautiful singing of Louise Mott as Micah. She sang consistently well throughout the evening, giving vibrant tone quality, notably in 'Ye Sons of Israel' and the powerful delivery in 'Return O God of Hosts.' |
St Albans Observer |
| Alcina - EOC - Wigmore Hall |
Louise Mott sang (the role of Ruggiero) with aplomb. Hers is not a powerful voice but agile, expressive and beautiful nevertheless. |
Stephen Pettitt Evening Standard |
| Apollo et Hyazinthus (Hans Werne Henze) - Endymion Ensemble Purcell Room, South Bank |
...Apollo et Hyazinthus with its translucent, harpsichord-dominated textures, effortless Stravinskian wit and spare, final, affecting setting of Georg Traki's poetry for a mezzo-soprano ([sung by]the excellent Louise Mott) proved totally compelling... |
Keith Potter - The Independent - 4/4/2001 |
