reviews

English Touring Opera

Costumed first as a Weimar Republic cross-dresser and then as a school boy, Louise Mott (Muse/Nicklausse/Antonia's Mother) filled her expansive lines pliantly and sympathetically.
Yehuda Shapiro - Opera - Dec 2015
The Tales of Hoffmann - J. Offenbach

Diva Opera

Also a mention to Louise Mott, a hilarious Marcellina.
Jean Marc Proust - August 2015
Le Nozze di Figaro

Three Spires Singers and Truro Choral Society, Truro Cathedral

The soprano, Tessa Spong, and mezzo-soprano, Louise Mott, contrasted well in their second-scene duet; Mott's extended recitatives had a glowing clarity - a very fine team of soloists.
Judith Whitehouse (www.westbriton.co.uk)
The Kingdom - Edward Elgar

Sue Ryder Appeal Gala - Diva Opera

'Louise Mott, the mezzo soprano, is a very dramatic singer with good coloratura and was partnered with baritone David Stephenson very successfully in extracts from The Barber of Seville.'
Avril Hemingfield
Amore a Roma - Diva Opera Gala at Cheltenham Ladies' College

Songs of Rutland Boughton - BMS431CD

Mott has a firm and focused mezzo voice that is able to move easily across the vocal range demanded... particularly effective in [Boughton's] dramatic songs. Given that there is a tendency for some of these settings to drift toward the ballad in feel, Mott makes a virtue of that by lightening her vocal style to great effect. Full texts are provided (in English only) but Mott’s beautifully clear diction means they are only required for reference.
http://www.musicweb-international.com
Songs of Rutland Boughton - BMS431CD

Alban (Tom Wiggall) - St Alban's Abbey, Hertfordshire

Bringing that about were a strikingly sung Roman Governor... appallingly hen pecked by his even more stunningly sung wife (Louise Mott), the real wearer of the toga.
Roderic Dunnett - Church Times
Alban (Tom Wiggall) - St Alban's Abbey, Hertfordshire
Mezzo soprano Louise Mott gave one of the most dramatic performances of the show as Marcella, the hard-nosed wife of the governor.
John Manning - Herts Advertiser
Alban (Tom Wiggall) - St Albans Abbey, Hertfordshire

Ariodante

Louise Mott delivered each showcase aria with passion and precision.
Opera Magazine
Ariodante (title role) - Cambridge Handel Opera Group

Odysseus Unwound (Julian Grant) - Tête à Tête - Alexandra Palace Theatre

The singing is very good, with Louise Mott (Penelope) and Sadhbh Dennedy (Nausicaa) outstanding in their roles.
Warwick Thompson - Metro
Odysseus Unwound (Julian Grant) - Tête à Tête - Alexandra Palace Theatre

Push! (David Bruce) - Tête à Tête - Riverside Studios, Hammersmith

On the way, pretensions were popped, heartstrings tugged... Last but one, a woman meditated on an impending stillbirth, beautifully sung by Louise Mott.
Robert Maycock - The Independent
Push! (David Bruce) - Tête à Tête - Riverside Studios, Hammersmith
Louise Mott is outstanding as Angela, whose baby is still-born.
Nick Kimberley - Evening Standard
Push! (David Bruce) - Tête à Tête - Riverside Studios, Hammersmith

Amadigi di Gaula - EOC - 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
Amadigi di Gaula - EOC - Iford

Ariodante - ETO

...as Ariodante, Louise Mott sings with persuasive freedom...
Nick Kimberley - Evening Standard
Ariodante - ETO

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
Alcina - EOC - Wigmore Hall

Apollo et Hyazinthus (Henze) - Endymion Ensemble - Purcell Room

...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
Apollo et Hyazinthus (Henze) - Endymion Ensemble - Purcell Room

Alfred (Thomas Arne) - EOC - Linbury Theatre, Royal Opera House

"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
Alfred (Thomas Arne) - EOC - Linbury Theatre, Royal Opera House

Agrippina - EOC - St John's, Smith Square

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
Agrippina - EOC - St John's, Smith Square
There were no weak links in the cast, but the women had the best of it.  Louise Mott's Agrippina was simultaneously a treacherous schemer and a mother with tender feelings.
Nick Kimberley - The Independent
Agrippina - EOC - St John's, Smith Square

The Martyrdom of St Magnus (Maxwell-Davies) - 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 performance, 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
The Martyrdom of St Magnus (Maxwell-Davies) - The Opera Group - Round Chapel, Hackney, London

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
Vanessa - The Other Theatre Company - Lyric Studio Theatre, Hammersmith, London

Dido and Aeneas - EOC - St John's, Smith Square

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
Dido and Aeneas - EOC - St John's, Smith Square

Greek - London Sinfonietta - Queen Elizabeth Hall, London

Louise Mott sang with opulent tone and a musical sensibility that did full justice to Turnage's soaring vocal lines.
The Times
Greek - London Sinfonietta - Queen Elizabeth Hall, London
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
Greek - London Sinfonietta - Queen Elizabeth Hall, London

Serse - EOC - Rudolf Steiner Theatre, London

A quite remarkable Serse...lovely of timbre, virtuosic, exciting in the delivery of her two great bravura numbers...
Hugh Canning - Opera
Serse - EOC - Rudolf Steiner Theatre, London
Louise Mott